HION DRAWING

AND DESIGN

LOIE M.

CHADWICK

MAR

-

9

1927

.

FASHION
DRAWING AND DESIGN
.

.

.

A
A Design
R
in
RODS
Four Colours for Cover
of Catalogue
.Frontispiece
H
Fig.
I.

T.
BATSFORD
LTD.
Fashion Artist
Member
the
of
Journalists
Society
Member
. 94
HIGH HOLBORN
..
of
Women
of the Society
of Miniaturists
LONDON
B.FASHION
DRAWING ^ DESIGN
A PRACTICAL MANUAL FOR
ART STUDENTS AND OTHERS
BY
CHADWICK
LUIE M.

VO
FIRST
PUBLISHED
vo
IN
MDCCCCXXVI. LONDON.
..
MACE AND PRINTED IN GREAT BRITAIN
BY FLEET WAY PRESS LTD.

but to explain and illustrate the various
methods and styles of drawing in general use for recording dresses
of different types. and the values of light and
shade. I hope. and not an up-to-date fashion book. even the signs of
coaching inns. and
at
it is
hoped that a representative review on these
lines
has been
brought together.
L. with their manifold detail accessories.
the technique of representing fabric.PREFACE
This book on Fashion Drawing and Design is intended to be a
text book for Fashion Artists.
The illustrations have been carefully selected to show the methods
of painting for reproduction.
Hampstead. however. but principally. and
artists did
do not quite
think. is not vainly to record of fashions
any particular time.
know the
reason.
The modes may not be those
if
moment. but
of the very latest
they were chosen to-day. the fashion students
them
to go in
and showing them
that most of the celebrated
not disdain any kind of painting. fashion drawings in different stages.
So many young people aie seeking a career and wish to take
up Fashion Drawing.
August.
much may have
is
safely through the printer's
by Dame Fashion's
altered
decree.
There are some classes
in connection
with Schools of Art.
are discouraged by the master. of
nothing can take the
place
of
intensive
personal
study and
practice. 1926. though
all its branches will be." instead of raising the standard
how much good drawing is essential. but
these are very few. and several have closed down.
The
aim of the book.
I
I
who
usually affects to despise
fashion drawing and tells the students he wishes
for " real art.
.
CHADWICK. that a book dealing with the subject in
practical assistance. the fashions sometimes change so
rapidly that by the time the book
hands.

Messrs. 41. Haggis for the technical notes on
his help and advice
colour reproduction which appear in Chapter VIII.
.
121). Messrs. A. Derry and Toms (Fig. 62. South
for studying old fashion
cannot conclude these acknowledgments without thanking Mr. III.
. and the courtesy and
Art ei La Mode contrikindness of the Editors was most encouraging.
.
.NOTE OF ACKNOWLEDGMENT
I must acknowledge the great kindness I have received from everyone. 109. 161).
. 123).
. 170)
Messrs. Courtaulds for illustrations of the
(Figs. 152.
. for the facilities he gave
plates and the permission to reproduce them.
61.
(Fig.
Amongst other
firms represented
by
Hoyle and
illustrations are Messrs. 58.
. 144. 40 and 145) The Celanese Company for Fig. 74.
(Pig. 51.
.
.
Tom Purvis (Figs. drapery firms and editors
of newspapers and magazines. 120)
Sons (Fig. no. 69.
of the Print
me
Room. and 52. 146. well-known manufacturers. 86.
. 87)
(Figs. 89.
.
Maclure Macdonald and Co.
The reproduction of fashions published in the loUowing newspapers
and magazines have been a great aisset to the book. C.
advertising managers. Marshall and Snelgrove (Pigs. 114)
Daily Express
The Daily News and Star (Figs. also 79 and 80)
well-known Luvisca (Figs. Burberry
and for the loan of illustrations (Figs. Thanks
must be given to Messrs.
. for the clever silhouettes
John Barker (Figs. 71. 168). an American
Vogue (Figs. 171)
Madam Barri. 153.
. 142. 37.
I
Batsford. 160)
The Sketch (Pigs. all of whom willingly lent me blocks and
drawings to illustrate the different methods of Fashion Drawing. 135)
and Harper's Bazaar. 166)
The Queen
(Pigs.
10 1)
(Fig. and for
also to Mr. 148. 90). 82.
Many thanks are also due to the Director
Kensington Museum.
for the characteristic pen drawings of Mr.
119. 88. i) and Figs. from a design by Captain Molyneux. :o2)
Ascough
(Fig.
. 38. 63. Messrs. 68. 164. 63.
Phillips
and Co. 35. 72. 152)
whilst special thanks are due to Harrods for the charming Frontispiece
Other illustrations were provided by Messrs. 113. and the Chilprufe Manufacturing Company for the charming drawings
of children by Miss Hocknell (Figs.
buted illustrations by Soulie.
. 165) to the Aerograph Company for so
kindly allowing me to quote from their booklet on the use of the Aerograph
to Messrs. the doyen of Fashion Artists (Pigs.
. 76)
periodical widely known for its fine reproductions (Figs. 151. Emile (Figs. 47. Jays (Figs.
. 59. 163)
Messrs. (Figs. 64)
Messrs. 53. Debenham and
Messrs. drawn by
Ert6. 36.
Jenner
(Pigs. 112.
and Messrs.
V
. 77 and 78)
to Messrs. 158. 116)
.
. Harry
who placed so many books of reference at my disposal.
The Daily Mail (Pigs. drawn by Miss Madge Munro)
The Lady
also The Gentlewoman (Figs.
Messrs. C. Gorringe (Figs. Elliots (Fig. 169). 73. 43 and 44.
L. 67. 147)
(Figs. 39. 154) and Maison Nicol for studies of Hairdressing
Messrs. 149. sketches by Miss Bessie
57.
. 159). Lashwood
Messrs. Aquascutimi for the powerful drawings by Mr.
.
115. Roller (Figs. 66.
Tlii
. 150. 83. 81.
. W. 85)
also
Preebody for the drawings by Miss Beatrice Spiller (Figs.

vii
INTRODUCTION
HOW TO
3
BEGIN
17
making
pencil sketches.
CHILDREN'S FASHIONS AND LINGERIE
.
execution.CONTENTS
Page
Chapter
PREFACE
I.
III.
numbers
of
necessity of
figure.
Natural and simple.
LINE DRAWING
63
Line work suitable
for catalogue or for newspapers and quick
printing.
Great demand and little
competition.
finished
to
painting
of
texture
with
and
detail..
Chalk
Red chalk
to give
Stippling or cross hatching.
How
V. in line.
to show
wool.
Care in drawing dresses according to
age. pose. Lingerie Graceful figures.
VI. Fine lines and
—
detail.
ix
112
.
etc.
WASH DRAWING
The method
from
first
instruction
of
32
wash drawing
washes
for
the
carried through
sketch.
II. Measurements of the
The
Materials required.
difficulty of its
many
lines..
Different styles of penwork.
Effects obtained by masses of black.
LINE AND WASH
92
The vogue
of this method.
IV.
silk. grouping. very few artists able to portray real
children.. simple
lines.
The danger
and wash
effect.
The
of too
for advertisements.. studies of drapery.

cards.
Perspective.
I
or board for background.
FASHIONS IN HAIRDRESSING
A
Branch of Fashion Drawing.
by using
Coloured paper
these.
pretty
of
Milliners
difficult
to
correct angle at which to place the
hat or the head. with suitable
and
seashore
games or
sports
or
coats.
Greek.
children.
224
. tennis racquets. afternoon frocks.
accessories.
FASHIONS IN COLOUR
VIII. Ideas from old prints.
FASHION DESIGN
182
Fashions of the Middle Ages.
crowded. golf clubs.
gowns. etc.
XI.
for
Correct
fishing
rods for sports dress.
paper.
The
please.
for
Furniture.
ground.
garden
toys.
133
The drawing
wholesale
Sketching at
faces. straw. Eg3T5tian.
X. The curve of the brim.
BACKGROUNDS
209
Interiors for evening dresses. How to
paint and draw feathers. flowers.
costumes
play-room.
Matt
effect obtained
Show
Quickness and brilliant
colours. The
same hat made to look dowdy or smart.
Designing for
magazines and papers.
Surface of boards. ribbon.CONTENTS
X
Chapter
Page
MILLINERY
VII.
three colour painting for reproduction. and other hat trimmings.
Painting on white
Cutting out and painting on coloured
Colour and the reproduction of colour.
fruit.
restatarant
Landscapes
Nursery. A department
High prices given.
Chinese influence.. Dresses
for
Pageants and the Stage.
IX. not over-
of large stores.
155
Two and
Cover designs.
warehouses.

and
possibilities and struck out a new line. and days and months are spent not only in
interest
The
richness
excavation but in the reconstruction of these
should
we have had
of this splendid
What
relics. Then a few artists saw the
Graceful. but not as a rule serious.
and extravagance of the garments are not cavilled
at.
The
No
mind towards fashions and fashion
contemptuous or amused. well illustrated.
There
value.
magazines
life-like figures began to appear in the
Fashion editors became more critical.
civilisation
idea
without the
wonderful care taken in the detail of dress.
is its
he or she will find that at the end of each period a section
to manners and customs. or
fashion
dummy
is
is
work
thousands
of absorbing
and of great value.
is
another aspect of the fashion art. the Drapers' Advertising
Managers more fastidious. and that
If
the student will turn to a good history. natural. and now fashion artists have come into their own
and
it
amateurs. until the present high standard was
reached. and the dress and domestic
historical
is
devoted
life is
built
. no
attitude of the ordinary
drawing
is
either
thought
is
makes an enormous
and environment. trimming and ornamentation
positively gloated over with the greatest enthusiasm by savants
of all countries. but the exquisite workmanship. more resembling hour-glasses than human beings.INTRODUCTION
In the seventies and eighties and up to twenty years ago fashion
drawing was very stilted and inartistic the figures were out of
proportion.
given to the influence of events upon dress.
was a golden time for the unskilled or partially trained
it was thought quite undignified and derogatory
to condescend to record fashions.
and papers. even a glorified dressmaker's
difference. as
again. and yet when the dress and
realisation that climate
of years old.
.

doves."
Beatrice d'Este was cultured.
age has generally manifested
and has adapted
itself
itself in
to the kind of
life
the dress
led
by the
people. a patron of arts and a strong
glass. and wish you to imderstand that
their love of dress.
wrought rings.
finely
her devotion to
clothes
certainly
did not indicate
. but are to spend it in buying some gold
chain or anything else that is new and elegant. spend that too. Murano
very fine Rheims linen
(finer than any sample). brocades patterned
all
over with leopards. colours
the origin of Craft Guilds. I had
rather be without it. never
mind
I
only as good as those which I see other people wear. even
ducats a yard
If it is
. the Crusades which brought wonderful new
The age
and jewels from the East. black cloth for a mantle
—
such as shall be without a rival in the world. for I had rather be in your debt so long
as you bring me the latest novelties. And if more is
required.
if
The
history of dress can only be touched upon.
weakness. and
would have
lost considerably in interest
dress could not have been described. In
a letter to an agent who was going to France she writes " I
send you a himdred ducats.
of chivalry. velvets of oriental make. and eagles.
bracelets
and
character. blue cloth for a camora.
tion.
silver.
so long as
it
is
if it
costs ten
of real excellence. rosaries of black
amber and gold.
Great epochs of history made equally great changes in dress. But these are the kind of
things that I wish to have engraved amethysts. as this
book
to be essentially a technical one. the birth of civilisaeach age left its mark upon the civil and domestic life and
fabrics.
dress. rare perfimies.
:
you are not to return the money if any is left after buying the
things which I want.FASHION DRAWING AND DESIGN
4
up from contemporary
from brasses and
records.
may
It
and
be interesting to refer to some historical characters
Beatrice d'Este is a good example.
we should have been much
left
many
historical novels
If
no record had been
the poorer in knowledge. and incidentally was
The Renaissance."
She besought an envoy in Venice at one time to get her
" immediately silks.
is
The
spirit of the
of the time. the costumes are often copied
effigies in the churches.

which is
brown cambric musUn for morning wear
to be a very pretty yellow and white cloud. speaks frequently in his diary of both his
and
his wife's dress.
Marie Stuart.
Jane Austen.
witty politician. I shall not trouble you. My cap has a peak
Large full bows of very narrow ribbon (old twopenny)
in front.
wigs. " for my pink one will
not do more than clear me from Steventon.
also
had a wardrobe
and yet she was a
of our greatest monarchs.
her letters describes
"
My
one also
.
Women
were not alone in their love of dress. so
the hoops and spread-out skirts did not
as
we should
incommode them as much
think."
In the eighteenth century much time and money was spent by
Beau Brummel. and another
winter. over i.ooo
was
9
devoted to the
toilet. which
shape exceedingly
like
our
is
what
own
it is
satin
intended
and
for.
and the Marie Stuart cap and
collar
are often revived. to get more than one of them."
" I shall
want two new coloured
gowns for the summer {see Figs.
The hair was powdered and dressed to a prodigious height. shaped round the face exactly like
fullness
at the left ear. one
it
is said. more
and
is
in
fit
is
Fanny has
white sarsenet and laces of a different shape from
for
morning wear. the Prince Regent.
are the thing. and in
new dresses and caps.
lace of last
it."
A
learned
woman
man who wore
is
called a blue stocking. did not despise dress.
hers
mine. etc. Frances
Bumey
refers to this in
Evelina.
The same period showed great extravagance in women's dress. her
rival.
Women
did not take part in
games.
wonderful ruler and very strong-minded.
Pepys. another intellectual. with pipes and more
and a round crown inserted behind. and were driven in a coach or carried in sedan chairs.
Bath. One over the right temple perhaps. and I like it very much. and that is to be a plain
the other.
and says
it is
own
" vastly becoming. lace ruffles. 3 and 10). I mean to buy in
In another letter she says
:
"
. a clever.
crowded with dresses.
however. Beau Nash. the Macaronis
and Dandies of their day with their clouded canes.
cap has come home. he was very witty and the life of the
. but it
was
really a
stockings of that colour and attended the literary
symposiums and salons.INTRODUCTION
Queen Elizabeth.

which was of purple.
or
vied
with
. in which was set an exquisite cameo
of Psyche the girdle of purple riband.)
—
. in a
was
again."
Thackeray in Vanity Fair describes in his inimitable manner
Becky Sharp's dress on going to Court.—
FASHION DRAWING AND DESIGN
10
company. the very pink
and pattern
smart Uttle cherry-coloured mantle. and we get a vivid description of
Julia's toilet in The Last Days of Pompeii
" Julia's tunic of a deep amber.
and orchid. {See Fig. as do the Turkish slippers at this day .
Some noted men and women have been
distinguished
by some
Abraham
Lincoln's
eccentricity in dress. Chamberlain's eyeglass
The
illustrating
from an
historical point of view. any anachronism is quickly noticed
and pointed out.
."
Again we have the fascinating Dolly Varden
of
"As
to Dolly. there she
good
looks.
—
"
—
Lady Jane
.
and description of dress
hat. and turned sUghtly
upward. a graceful
buckle on the left shoulder. and upon the top of that hood
straw hat trimmed with cherry-coloured ribbons. which well set off her dark hair
and somewhat embrowned complexion. such as Gladstone's collar. swept in ample folds to
her feet..
newspapers
particulars of Becky's costume
lappets. ii. fastened round the slender
ankle by white thongs while a profusion of pearls were embroidered
in the slipper itself. and the splendour of the lace on her
dress. in short. with a hood
same drawn over her head. superb diamonds. and when he appeared the " blue stockings " were
hailed with delight. and. Novelists have always been very particular in
portraying the heroine's dress.
.
is
not only valuable
but of inestimable use to novelists
and playwrights. if of bygone times. We all know what care is taken in dressing a
play. the various
rings fitted to every joint of the white and slender fingers. to make it the
wickedest and most provoking head-dress that ever malicious
milliner devised.
and
the rest. and worn
the merest trifle on one side just enough."
were in
all
and
all
later
on he says
:
"
The
—feathers. richly wrought with threads
of gold and clasped by interlacing serpents
and lastly.
And not to speak of the manner in which these
of the
a
little
—
cherry-coloured
decorations brightened her eyes.. which were cased in slippers.
The
toilet was now arranged according to the last mode of Rome.
quickly spied out the magnificence of
the
brocade of Becky's train.

)
The two
worn
by William
overskirt which. as the style ranges
happy one
[See Fig. invested her with a truly imperial dignity. genuine EngUsh
girl. fashion plates were carried out with great
artistry."
(See Fig.
tweeds. in a modified form. 6.
whose crimson velvet robe. and wearing jade
ear-rings
—her
unsophisticated rival in white and pearls. and a shawl turban of some goldwrought Indian fabric.)
At the present time colour and fabric are used to denote temThe intriguing adventuress is clad in diaphanous purple
perament.
and can be
silk or satin. Colonel Dent's black satin dress.
[See
5)
In our
own
country.. her
contrasting
with
the
exotic
bloom
the
of
adventuress. who devoted himself to fashion plates of the
The beauty of the execution will
Incroyables and Merveilleux. Rochester's guests
" Mrs. pleased me . as it were.
Lady Ingram.
The
such as those by Paris R. and was
so surrounded and hemmed in.
be noticed in some of the illustrations we are showing. sensible
in the evening she is in a simple frock."
her
or shed a
lips."
" But the most distinguished was the Dowager
lace. Well-known artists sketched
for the Lady's Magazine. and others.
2. by aggravations of all
Hnds.A.. are
The
figure in the brilliant silk
is
at the present time. 4
Holler. 7.
If
we go back
to 1790 or 1815-20
we
find fashion plates were
drawn and designed.
up to the time
of
and including the Early
skill and
Victorian era.C. also
beautifully
Horace Vernet.
somewhat
staunch.
have the long sleeves and
ladies in Fig. Watteau Fils was one of these.—
INTRODUCTION
li
new bloom on her face.
4 and
5.)
for a
from the Egyptian 3000
B.
little
muff.
dress of to-day
is
a particularly
this kind.
which she makes Jane depict
in
the dress and character of Mr.
shoes and pull-on hat
healthy
sunburn
. especially
in her celebrated
book Jane Eyre.
with a long chain of jade beads round her neck. she wore such a cruel
had such a heart-rending pair of shoes. and used all their talent in depicting
the dresses and accessories. and
Charlotte Bronte also gave minute pictures of dress.
taken as a very good example of how to paint
Fig-
[See Figs. her scarf of rich foreign
and her pearl ornaments.
book
of
touches
..
is
in well-worn
The
and very
of a hoyden.
much
pictured
a
sportswoman.

to
encourage the would-be fashion artists and make them
are
by no means obscure
9).
they
. the hoop and skirts after
the " Beggar's Opera. turbans and hats from
the eighteenth and the beginning of the nineteenth century. head-dresses.
To
8.
Fig.
feel
factors in the social life of the daj-. not
8 and
leaving out quaint touches of the early Victorian
(see Figs.
Walking Dress
differences of period requires
I think I
have said
consider the value of historical or
sufficient. but
stiff
Fig.
Early Victorian
reconcile all these
and wide reading. 9." the caps.—
—
FASraON DRAWING AND DESIGN
12
the Plantagenet in jumpers and sleeves.
modem
knowledge
whether we
aspects of dress.
and even coquetting with the high hats and
flowers of 1897-8.

^-c
"3
o
o
d
^
w
w
M
.

.

I
.

12.i6
Fig.
Preliminary Pencil Sketch of Figure.
.

12. had to mileam\it all again. boards with
no
surface are better.
being aimed at but
movement
it is
not detail that
Two
or three of these figures should be drawn every
is
tmtil the student can put a smart figure on the cardboard
ready for any style of dress.
and
day
as
life.
a good general art shop will keep
Cheap boards can be used for practice.
{See Figs. sitting.)
MATERIALS REQUIRED
The materials which
not numerous or costly
will be
. I suffered from
this kind of lesson myself. back view.
Hot
pressed paper and Bristol board can be used for line work.
better to select a good board. stony and mechanical appearance.
kneeling.
. and having modelled my style on these
foimdations. but with
care they last a long time. Noah. and teach myself to draw
living figures. 16.
needed by the fashion
artist are
the chief outlay will be brushes.
pressed both for line and wash. 17
and
18.
It is better to begin your study of Fashion Drawing by making
numbers of pencil sketches of the figure in every pose you can
These pencil roughs should not be finished up
see or think of. not dummies.
It is necessary to have some guide to correct figure-drawing
and yet to avoid a stiff. but for
finished drawings
The
surface
it is
should
especially in black
.
be hot
and white
.n
HOW TO
BEGIN
The
instruction in Fashion Drawing fonnerly given to a beginner
was to draw a model figure which consisted of an egg-shaped
face. a wooden-like body k la Mrs.
Boards vary considerably
several makes. etc. such as figures walking.
at
all. with a narrow waist
and a skirt drawn from a dressmaker's dummy.
for furs
and
colour.

is
quickly gained.
The student wUl
find materials
i.
black.
Albanine Process or Chinese White.
measurement
a compass marked
and
with
paper
centre
of
the
drawn down the
recommend the
should
This is not the way I
off in sections.
FASHION DRAWING AND DESIGN
l8
For Line Drawing.
. etc. No.
Coloured Paper for Show Cards and Chalk Drawings.
Notes on Illustrations
and if the student will look upon
these pencil sketches as he would scales in music. 5.
White paint must be used for the high lights and white lace. 659 will be
found most satisfactory.
3.
this should be Albanine.
6.
be absolutely accurate but appears only a lay figure.
2. 2.
of proportions
.
8. ivory or lamp-black. etc.
5.
Persian Black Process.. Ivory or Lamp-Black.
7. 6. 7.
Bristol
Water Colours in Tubes.
To
get
the
sketches
correct
as
well
as
full
of
life. Process White or Chinese White.
Matt Colours for Show Cards.
:
Process or Fashion Boards for
Wash Drawing.
4.
Board or Hot-pressed Paper for Line.
Sable Brushes and Crowquill Pens.
9. the
preliminary steps will soon be passed.
List of materials required
1.
At
this stage it is
easily corrected without spoiling the freedom of the sketch. The last three are in tubes
Ordinary water colours are used for fashions
in colour.
designs.
The paint for wash drawing can be Persian Black Process.
cover
Matt colours are the best for show cards.
The method I have adopted and found most successful in teaching
then
is to make the beginner draw in the figure very sketchily and
figure
may
measure the height and other proportions.
quite sufficient to
begin with. and ease and facility
Practice
everything. Crowquill pens are the best. which the
musician plays over and over again until he is perfect.
Water Colour Boards for Fashions in Colour.
some
Generally a line is
must be made.

. 13.
Pencil Sketch of Draped Figure.19
Fig.

.

Fig. drawn by Lord Leighton.
A Chalk Drawing
by Lord Leighton showing a back view of a Figure
Nude and Clothed.
Shows a Characteristic Study of Hands.
. 14. 15.
Fig.

the line of the
to the outside comer of the eye
distance from the
the face
the
between these
equal.
fingers should be tapered
others
even in
. and the third to the point of the chin.
eyebrows.
about the middle of the head.
If
from the nose to the chin into three parts. that of a man 8 heads.
The head
is
taken as the basis of measurement.
it is
the fingers are spread
The
and the middle finger longer than the
an outline drawing the nails should be indicated. the height of
7^ heads.
is
If
arm
the
is
bent. and the student will find that very young
a
woman
is
children only measure 4 heads.
well apart. the elbow comes level with the waist line
hanging down. a child's head is much
larger in proportion. the dip underneath
the second part.
is
of the
equal in space to the
comer
also divided
mouth will be
is
The comer
of the eye to the middle of the ear. increasing to 6 and 7 as they
grow
older.
very necessary to study the hand from
It is
as
of the
life
{see Fig.
THE HEAD
The head should
rules will be a help
The pupils
if
also
if it
of the eyes are
the proportion
is
is
life.
out they span the face from chin to the top of the forehead.
THE ARM AND HAND
{See Fig. and the chin.HOW TO
BEGIN
25
MEASURING
The
measurements need only be the height and very simple
first
ones of the limbs.
If
15)
The length
impossible to give diagrams of every position.
and from that to the top
points
be studied from
has to be drawn without a model.
mouth
but a few simple
taken from the chin to the pupil of the eye. the elbow
is
if
the arm
raised
above
this line in a slight or greater degree according to its inclination.
one-third
down from
the nose.
hand
is
about the length of the
face.
THE EYES
The eyes should be placed
equal to the width of an eye. the distance
The head can
also be divided into three parts. the top of the nose. 20)
The arm and hand reach
way between
to half
the waist and
the knee. the width
The upper
lid is
between being
much
deeper than
. and
of the head.

The eye moving as it
does on a pivot can be turned in every direction.
of the lower lip fit into the depressions in
the upper one.
point coming to the centre of the clavicle. with half a head to the sole of the foot. the under lip like
the string. the line of the
and curved into a hollow between the two
and this dip should always be indicated. not taut
The
and
the most accurate description. the ball of the foot
and toes
.
The upper
lip
traditional bow. although poets allude to
the heroine's
is
is
.
.
mouth
as a rosebud.
This arch or high instep
and also of good descent. The foot
forms an arch. the
where there is the widest space
neck
is full
in front
points of the clavicle.FASHION DRAWING AND DESIGN
26
the lower one. the foot at the back should be
ground at the
heel. etc.
lid at
The
wider in the centre and folds over the lower
it is
one comer and
pupil
is
more heavily fringed to protect the
very dark and surrounded by an
is
iris
eye.
colours.
these lines form a triangle.
Also
draw
the lines of the clavicle. cherry
the exact curve taken
by the
not meet in a point. it is liquid
MOUTH
A
that
mouth
perfect
is
generally described as a cupid's bow.
NECK
The neck and shoidders
are very important.
LEGS AND FEET
Again taking the head as a basis of measurement.
if only
emphasise these too much or it will give a bony appearance to
the neck and shoulders. the distance
from the top of the head to the knee measures 5J heads and the
ankles 7 heads. and great care
must be taken that the eyes are both looking the same way.
is
considered a form of beauty
The ankle bone should be noted and
Illustration
When
the figure
raised from the
is
walking. but also curved. but do not
slightly. There are two muscles which also come
to a point at the depression in the neck and start from the ears.
the comers of the lips do
lip folds
over the lower one.
shown in the drawing. but the upper
raised
mounds
lips.
of different
and reflects the light. the weight resting on the ball in front and on the
heel.

one
sitting
the proportions are studied and quick sketches
made every
day. 13. I
think.
the student will soon be able to begin wash drawing.
it is
useless for
detail until a certain sureness
has
been gained.
if
the student
. 14 and 19.
on a
Draw a costume
sitting figure
an afternoon
sports coats.
or coatfrock on a walking figure
or restaurant
gown
.
When
these few proportions have been studied and mastered.
put into these sketches and
GROUPING
At
this stage
figures
If
some grouping may
and two
and one standing. river dresses.
can be drawn on the same page.
{See Fig.
also be attempted.
DRAPING THE FIGURE
The next step should be to
clothe these figures in appropriate
garments according to the pose. which. {See Figs. even
afterwards specialises in line or other medium.)
frocks
on
figures in action.)
. tweed or washing
A
certain
it
will
amount of detail can be
form a prehminary exercise
to the dress designing which comes later on in studying Fashion
Drawing. 22. is better studied before other methods.
the pencil sketches can be corrected and the student's power of
drawing quickly and correctly can be gauged
him to begin the painting or
.HOW TO
resting
BEGIN
on the ground at an acute angle
31
level
with the foot when
stepping out.

with the principal shadows and
which should be painted in very strongly.
When you
with an
are satisfied
24. or H. Process black. and
sable brushes.
a
and
paint a soft shadow
Wash
in the head.
hair.
with the pose. It is a good plan to wash
over the part you wish to paint with water and rtm in the black
while it is wet this gives roundness to the face.
leaving the high lights to make it look soft and fluffy and like
Where the hair touches the face. but what we call " slick.
over with plain water. and some modelling
. pencil.H. are
all
two
or three good
the materials needed.Ill
WASH DRAWING
Now
—
comes a more fascinating stage in Fashion Art what is
as " Wash Drawing. so the dress and detail must be
sharp.
fixes the pencil. using plenty of water with
Let
your black so that it may flow easily and dry light and smooth."
made
clear
and
required for wash drawing should be Fashion or
The boards
Process boards with hot-pressed surface.
Persian black. which I
will
deal with later on. except for furs. this prepares the board and to some extent
must be taken not to leave a wrong line.
.
If the brush is dry the black leaves a hard line. draw in the details of the dress.
very
lightly. so care
as
sometimes
it is
difficult to erase after the
water
is
washed
on. not hard. which is sometimes
this
impossible to get out. The sketch should then be washed
(See
Fig.
dry and then begin to paint. painting in first all the delicate
shadows and indicating the features." This is really water-colour painting
known
in black
and white
for reproduction.)
H.
It is
used for catalogues
or magazines. not hard and opaque.
Sketch on your board a smart
figure. beginning
dark part
of the hair.B. keeping it quite
simple with very few lines. any of
these with Albanine and Process white.
Then proceed to wash in the face.
few
delicate lines to indicate hairs.

If you have
drawn a pretty one. 26. but go
on to the dress.
minor shadows and the
Several gradations of
from very deep through half
these variations
make
all
the difference
to a drawing.
When you
dark and clean and the
paint the eyes get the pupils quite
and transparent.
[See Fig.
folds.
such as a plain coat and skirt
.)
.)
the face like a miniature. as the whole drawing should be worked together. Take a fairly large brush and wash in very broadly
the shadow side of the coat and skirt.
(See Fig. both at the same time
if
they are painted separately they have the appearance of being
a different colour and material.
.
THE DRESS
For your first attempt at wash drawing choose something simple. don't make
The same
care should be taken with the other parts of the face. and a hopeless muddle is the result and the student is in
despair. (See
work up
shadow and touch should
It is not necessary for quick reproduction to
Fig. with the features lightly painted in.
not be afraid of putting on the paint. paint the
following the lines of the figure.
When the
artist is quite satisfied with the finished wash he can next proceed
to detail.)
Look over the painting and add any touches to sharpen the
effect or take out any mark that should not be there.
not one part finished up before the other.
Do
this is the best to begin with.
When
of the collar.
Before going any further with the dress. probably the paint is half dry and half
wet.
this is dry. deepen all the shadows
on the head and model the features as much as possible.
folds.
I find
the reason the beginner spoils the drawing
. it is better
to leave the face in this state and not finish up entirely. At this
stage work up ready for the finishing touches the dress must now
be brought up to the same tone until the whole figure only requires
them
all
iris
liquid
black with a dab of white to look like beads. 37.
the detail.
that this
some black
is
is
often
put on
and then before that is dry the student tries to correct
some imaginary fault. Paint the dark side of the sleeve
and the little sharp triangular shadows thrown by the comer
faintly
.
shade will be noticed in the
tones to quite light
. but every
mean something.WASH DRAWING
43
can be done with the brush while the paint is wet. 25.

)
by drawing two lines on
your board.
(See Fig. safe to assume that lace.. so I will begin with the
The method
of painting white lace
is
. the flowers and tendrils.
purely mechanical and only requires practice. 27.
LACE
The trimming or accessories to a dress depend upon the fashions
moment.
by blacking in the space
to be covered and.
The mesh
a thin wash of process white over the
dark here and there gives it a filmy look. the page in Nicholas
is braided and f rogged like a military attache. a glimpse of fur.FASHION DRAWING AND DESIGN
44
DETAIL
Modem
painting ignores detail and
we
all
get
a suggestion of lace.
For very coarse or torchon lace the whole must be put in with
Albanine. so
it is
of
You
by old masters.
shadows and leave the high light as you would
in
the
of lace.
.
clever. which will help materially
to give the lacy effect.
first named.
is formed by cross lines in process white. when the paint is quite dry. draw the pattern
carefully with process white. For very fine white lace the space should not be dead
black. but
your
able
client
will usually require the exact pattern of the lace. a flash of
to convey this impression
imdoubtedly
is
frequently
is
To be
silk. veins and dots
and let this also dry
always be worn. blacking in the space between and following the
If the trimming on the dress consists of flounces
instruction given.
which he wishes to advertise. but chiefly in half tones. at
another there are so
many rows
of buttons
are irresistibly reminded of Alphonse. braid and buttons will
Nickleby.
etc. the leaves.
however. the braid or
the buttons.
pictures
us take several kinds of detail and describe
despise
how they
it
should be
painted.
Matsys and numbers
will find
including
others.
Let
as pre-Raphaelites.
then outline the petals.
those
Quintin
known
of course. This should be touched up in the high
to throw
lights
up the pattern
with process white.
this meticulous care of detail in the
Velasquez.
but. paint
Practise the different kinds of lace
. or else she
It
is. getting a certain amount of depth
with Albanine. At one season the fashionable woman is
of the
smothered
that
we
in lace. and the caprice of Madame Fashion is soon felt
in the industrial centres and often makes all the difference between
poverty and wealth.
we must not
.

light
and
Fig. 32.
Brocade
Skirt.
Notice the way silk is represented by
sharp contrasts between
dark.
Flounced Silk Skirt.45
Fig.
pattern is darker than the
ground but sometimes it is shown
The
lighter. 33.
.

27)
made
dresses.
white serge coats and children's sailor dresses white braid
used. using
Albanine only on the top of the folds and process white in between.
BRAID
Military braid (see Fig.
draw
fine lines in Albanine
and
in
process white for the shadows.
must say a word about embroidery. evening dresses consist of a
tunics.
draw the
detail with black (the flowers
cross lines in black.
with Albanine. The paper underneath
the lace
almost white
is left
or design). etc.
thick. black dot.
beads. paint delicate touches of process white.
little silk
and
sheaths and armour of
by artificial light is sometimes most beautiful.
and dose together. and
a
little
On
is
is
very usual on costumes or
tailor-
Horizontal lines in black are drawn very fine
In the high hghts the
in the
lines
should be
made
shadows with process white mixed with
black. but I
of fashion. so on the top of
the flower.
the pattern in ink. and we all love glittering things.
The
If
it
the design
time..
A beaded sketch in colour can be made very artistic.
The
lace
is
generally
these catch the light.
In painting embroidery in wash the student must
I
difference
endeavour to give
it
Draw in your
good method is to outline
but the drawing must be quite exact as it is
the appearance of being raised. the
is
from the mesh.
light
and a shadow.
this
53
draw the pattern. and a half-tone on the shadow
side
.
shadow has a wider dark line to raise
of process white
At the present
many
beads. but like sheep we follow some leader
effect
at others bizarre
and in every one of us there is something of the child
and savage. the
made with
mesh with
threads
silk
.
Pearls have a very high
like marbles. with a tiny white spot where the
light catches the surface.
and barbaric.
this gives
Avoid making
the beautiful luminous effect so characteristic.
Ordinary beads
are painted as a round.
.
am
deaUng at present with black and white.
A
. fine light on the outside edge. This makes all the
between an ordinary commonplace dress and an artistic
creation.
design Ughtly in pencil or paint.
Black lace is the same method reversed.WASH DRAWING
for a flounce of silk or cloth
on
.
flounces.
girdles.
Sequins are painted in a
with a sharp.
them opaque
flat half-circle. also lines
mixed with black.
This
is
very simple
.

also
be shown.
and
this
must
Plaids are painted in the
pattern and
They
made dark
are difficult.
Another cloth used in making coats has a herringbone pattern
in the weave.
shown by painting in diagonal lines.
the result being very clumsy and failing to convey the idea of
serge.
washed
If
in as I
have described.
Notice if it is coarse or fine serge and draw the lines
Serge
is
very usual and
taking care that
all
is
—
slant in the
accordingly.
is
FABRIC
IliUSTRATiONS {See Figs.
the raised effect.
will require
and
if
is
is
to try to paint different
sufficient for ordinary cloth.
It is impossible to describe every kind of detail as
are constantly being invented or resuscitated.—
FASHION DRAWING AND DESIGN
54
impossible to erase the ink without injuring the paper for painting.!.)
number of subsidiary
should be painted by leaving the
plaids
Velour and thick cloth
we
and
serge. 39 and 40)
When
a plain wash has been satisfactorily accomplished and
studies of detail made. as in
lines.)
{See Fig.
to experiment until the effect
and
new trimmings
it is
necessary
obtained.
your
client is a wholesale
but there
manufacturer
each kind to be properly defined. the dress can be
is
and the design
embroidery
visible.)
a direct manner. 30.
some
29. fruit or leaf to
show it
in relief. white lines
across the pattern to give this appearance to
embroidery
it.
IU.
many
the plain wash
varieties. the next step
materials
are
he
.
and washy and put on
in
{See
Fig 32.
same direction even all straight
folds of a skirt must be crossed in the same way.
drawn
be
will still
the embroidery
is
side a dark line to give
of silk.
I well remember
one of my first attempts when I rounded all the lines over folds.
{See Figs.
can be
White
simply reversed.U3TRATIONS
DIAGRAMS
SmAI. 28
same way as the
as they cross each other.
the ink
If
used.
IlXUSTRATIONS
Silk
is
painted in quite a different
Mix the paint very
liquid
manner. and white lines drawn but a dark
is
shadow under each
flower. following the
find a
edges of the folds slightly irregular to give a soft
effect.
.
Paint Uttle strokes to represent
and on the shadow
stitches.

I
t
.

good
EXAMPLES OF SILK TREATMENT.\.
of Luviskc. 38.
Fig.
Fur in Wash. 40.Fig.
Two Blouses
.

Black fox or skunk
taking care to show
is
its
comparatively easy.
Again.
but with two half-tones. like other fabrics.
the colour flow over the light parts
.
For velvet.
very important as there
tails
way they
one year.
this as far as possible without white until the
between the
effect. notice that
Wash
it
it is
generally
made up
of
over with plain water and paint in the
these cannot be too black. and then paint it as near as possible to the
new mode
real thing. in moleskin the skin
is
made
into squares.
If
(See Fig. which.
The
some artists
and by constant practice are able to paint any
considered the most difficult to paint and
specialise in this. soften with
your brush before the paint is dry.
FURS
Fur
is
(See Fig.
and should be
of the drapery are sharp
folds
left light. neither the
next. with the very blacks before the board has time
to dry. but perhaps fringe or big fur bottoms. and
let
liquid.
a few dashes of Albanine will give the required brilliance to
Satin
is
it.
Begin
wet the
and run in some process white. but where the two meet. in
a few irregvdar touches give the silky
.
aim at
principal effect to
is
softness.
Sketch in the figure in the best position to show the shape and
of the fur..
so
it is
with furs
—^heads and
fur.
Guide the paint.
as I have said.
This
is
Sketch in the
a certain fashion.
very
Try to get
and then
last.) If the whole
light part
dress
of velvet.
is
wet
it all
over and wash the paint on. Don't let the white go
on to the very black parts. varies in the
are treated
. leaving high
. the paint must also be mixed very
very black.
is
skunk.
where wrapped round the shoulders.
folds
Some
and little creases
more stubborn
are
but even these do not lose their depth. 23.
blacks
.)
light.)
the fur chosen
different strands.)
fur required. (See Fig. one each side the
{See Fig. beginning.
not so sharp. 33. stripes
and
other rather eccentric patterns.
is
best points. the folds are heavy and the high light not
on the top
of the fold. 35. richness
most fascinating
pliable furs fall into the
and depth
Sable and ermine and very soft
there are no hard lines in fur. 34.
WASH DRAWING
57
The edges
deciding beforehand where the light and dark will be.

and they can only be suggested. but where the black and light
is
line is irregular.
to the realistic rendering of ermine.
IlXUSTRATIONS
Black fox
much
is
painted in nearly the same way.
shadows very delicately while the board is wet.
dry paint
it is
little lines
in the direction of the hairs in the fur.
This describes the method for long-haired white
furs. the skirt
.
{See Fig.
of course
are treated like fur. When these are
deep enough in tone. so leave a little light between each
and
it. Feather ruffles and stoles
fox.)
of course. also the
Pony skin
method. 42).
must repeat most emphatically that
must look rich.
36. then wash over the
light part and nm in some Albanine.
very similar to velvet. however careful your
making corrections.
alterations may be necessary.
such as
For ermine follow the same directions.
and moire
silk are
the difference. 38.)
practice to paint these successfully.
I
furs of whatever kind
CORRECTING A WASH
must not leave the subject of wash drawing without speaking
It is inevitable. making the hairs
The little tails add wonderfully
very much shorter.
It is impossible to get a dean wash with any black paint imder-
Begin by a wash of plain water and then paint in the
neath. To say they must be as fine as
hairs exactly describes the effect at which the student must aim.
painted in a similar
Sable and beaver are very difficidt as a very rich
must be given and soft creases and folds indicated. deep and soft. treated in a different manner.
drawing may
I
of
in
some
cases your client
may
wish the coat to be longer.FASHION DRAWING AND DESIGN
58
Before
lights.
The high
lights should never be covered even with a faint tone (see Fig.
effect
Fig. drawing very fine lines from
the white over the dark parts. (See
The hairs being so fine it is almost impossible to
It takes much
define them.
come over the next
paint the hairs over
from the edge
of the black
These hairs from one strand
one.
with
little
hairs all painted in. let it thoroughly dry. the hair making
outside line is in irregular folds with fur suggested.
White
fur
is. but the hairs are
longer and
Seal
meet the
it is
not divided into strands. and
that
some
be.

59

Fig. 41.

Example of Wash

Fig. 42.

White Fur is better shown with
a dark background and the
shadows quite soft.

WASH DRAWING
shorter, a different hat or

Then

difference.

some other sometimes

again, the dress

the figure quite spoilt

6x

may

by an ugly

be

trivial

Let

face.

and

irritating

beautiftilly finished

me

and

take the latter

There is one way in which to make a drastic change
by putting on a new head. Of course, this is a last
recourse, but I have been asked to do up an old drawing and paint
a different head and up-to-date hat. This is done by taking an
accurate measurement of the space to be filled you then paint
a head on a separate piece of cardboard (the same surface as the
one you wish to alter). When you have finished the face, peel off
the top layer of paper. Do this gradually, damping it if it sticks,
cut out the painted head and fix it on the neck of the figure
where the edges touch the board. Some hair can generally be
painted over them to hide the join.
It is better to cut away
contingency.

and that

is

;

the old head, but sometimes this

is

not necessary

;

if

this

is

done very carefully the alteration cannot be detected in the
reproduction.

The

Buy

dress can also be altered.

art shops, or

sponge and

if

you are

tie it to

in a

a small sponge at one of the

hurry cut a small piece from your bath

the top of an old paint brush, winding the cotton

round and round.

Sponge out the part you wish to

clean water (the black paint does not always

student

may

find

it

alter

with

come out and the

necessary to use a typewriter ink eraser).

the board dry thoroughly after being sponged before using

I<et

the rubber ;

by

if it is

out;

it

damp

at

all

the surface would be quite spoilt

This in a lesser degree applies to the sponging

rubbing.

should be done gently and the surface of the paper

preserved.

When

the part you wish to change has been taken out begin to

paint in as you would do in the

stippling in

any

be entirely devoted to backgrounds, so I

will

first instance,

roughness or uneven spots.

One chapter

will

explain the principles of those later on, but frequently
figure

is

dressed

in white

or light material

paint dark round the figure to show

done a hard

line shows,

it

up.

it

is

If this is

when the

necessary to

not properly

which much detracts from the appearance

of the picture.

When

the figure

is

partly washed

or partly round the figure.

in,

wet the board

While the paper

is

all round
wet paint in very

FASHION DRAWING AND DESIGN

62

black near the
is

vignetted.

figxire, shading in the same way that a photograph
With your brush guide the paint, or if you think it

not dry smoothly, you can blow the paint from dark to

will

light.

If

Example

wash drawing

{see Fig. 41.)

the student will follow these instructions

difficult to paint

her

of

own pons

it

should not be

a good wash drawing, but every artist has his or

asinorutn,

and must work hard to get across to reach

success on the other side.

—

IV

LINE

DRAWING

more variety in the method of line drawing than in
As a mle two or even three people can work on one wash
wash.
drawing, and then when a few finishing touches have been made

There

is

by the

original artist the

quite the
line

same as

drawing there

if it

is

whole looks

fairly equal, of course

had been the work

not

of one artist only.

a wonderful difference.

Look

at the

In

pen

drawings in the daily papers, some simply outlined, others almost
having the effect of an etching {see Fig. 44), such as Pegram's or

Septimus

Scott's.

This chapter on line drawing would certainly be incomplete
without referring to the Burberry advertisements. This method
is

frequently seen in American magazines.

and

I

do not remember any others quite

C. Roller is the artist,

like

them

in

England.

IlXUSTRATIONS
I

should advise the student to specialise either in line or wash,

and get as much originality and individuality into his work as
possible. At the same time the ordinary fashion artist should have
a good working knowledge of all the methods, so that he or she is
never taken at a disadvantage.

At the present time there seems to be more demand for fashions
The reason for this is partly cheapin line than for those in wash.
change
in
the style of magazine illustrations
ness and partly the
and the influence of French and American artists.
Of course, there has always been a considerable amount of
drawing used and occasionally some of the West End houses
have brought out their catalogues entirely in this way.
Very few materials are required for line drawing, Indian ink
the Mandarin and Dragon are good makes crow quill pens and
a lining-in brush, which I will speak of later on, pencils and rubber

line

—

FASHION DRAWING AND DESIGN

64

with typewriter's ink-€raser for corrections.

The boards should

be Bristol or Clifton boards or hot-pressed paper.

The student should

practise

drawing any number of lines

with the pen, some curved and some straight, some thick and some

Figs. 43

and

44.

—

Illustrates the use of numerous lines and is
the others reproduced

method from any of

a different

LINE DRAWING

65

This can be done with the same pen, making the difference
by putting more pressure on the pen for the thick lines. These
lines should be unbroken, sure and firm, not ragged and uneven.
However fine the line is drawn, it need not be scratchy, or it will
come out badly in reproduction and is not good pen work.
The whole drawing must look clear and the blotted appearance
seen in some line drawings is the result of faulty lines. Crosshatching is not used quite so much now as it was some years ago,
thin.

but I have seen very effective drawings

To form

backgroimd cross-hatched.
are

drawn slanting

in

way

is

crossing

the entire

one direction and then crossed by other

lines slanting in the opposite

the lines

made with

this cross-hatching, the lines

them

way, or upright

lines

can be made with

a horizontal direction.

in

Whichever

chosen, the cross lines should not be put in until the other

lines are dry.

where the

when the ink

If crossed

lines meet.

When

the different lines and can

is

wet,

it

makes a

blot

the student feels he has mastered

make a

clean sweeping stroke with his

pen, a figure can be attempted.
Studies of

drapery and simple figures can

ink in the same

way

be drawn with

as the preliminary studies for

wash drawings.

SIMPLE LINES
It is necessary to begin

with simple lines although

it is difficult.

and in the
end finds he has fallen between two methods and failed in both,
making too many lines for a simple figure and too few for a highly
Usually the student keeps on adding line after

line,

finished one.

Draw
any

the figure carefully in pencil and look

faults before beginning

with ink, as line

it

is

over and correct

more

difficult to

correct than wash.

The head {see Fig. 45) should be inked first, the hair indicated
by a few curved strokes following the waves, the features only
outlined with the exception of the eyes, for these a black spot

made for the pupil and a line drawn rotmd for the iris, of course,
shaped according to the direction in which the eyes are looking.
is

In outline figures, the mouth
is

not the best

way

;

is

sometimes blacked in but this

the upper lip and lower one are better drawn

separately, each with the correct form.

—
Fig. 45.
Line drawing with detail
.

but when the details are examined any
criticism
of line. 46.)
. under the hat brim.
in a high
way
have seen a figure having the appearance of walking
wind and this impresssion was entirely produced by the
the lines were drawn in sweeping curves as
if
the dress was
by a March wind or autumn
billowing out.)
Illustration (See Figs.
inked outline.
lines
.
the drawing will be more effective
Before proceeding to more elaborate line. belt. blown
gale.
the student can try the effect of conveying ideas by these simple
I
lines.
B
fine lines
is
turned into admiration for the wonderful delicacy
[See Fig.
Always work on the left side first the effect is obtained more
quickly and there is not the danger of smudging the lines by
touching these with the hand in drawing. on the hair and by
further. the student can outline the
entire figure. including
add the
hands and
feet. 53 and
Newspaper
line
the preliminary work
line. If the subject chosen
. the pen and ink must be carried
The outside line must be much stronger and very black
tmder the sleeves and under the coat or jumper lines also
showing the folds of the skirt are usually put in and even a few
on the face. 51. and
although several EngUsh artists make use of this black no one
does it in quite the same way. by the eyes.
he can
inside details such as the coat.
for the first line sketch is a costume.
fatal to a reproduction in
a newspaper than weak.
.
the neck. the pencil sketch and the
quick printing and
block-making
needed for newspaper work.
{See
Fig. the drawing
straightforward with
is
more
all
must be clean and
Nothing
the lines sharp and refined.
Even with
these extra lines.LINE DRAWING
The
67
face proving satisfactory. 43. collar. niggling
lines. buttons.
MASSES OF BLACK
Very
and masses of black are illustrated by these
drawings by Erte from Harper' sBazaar. They are quite xmique. At first sight the term eccentric is
usually appUed to them.)
with some shading naturally follows simple
but
for
is
the
the same.
57. the dress can next be lined in. seams.
and when
this is dry.
the whole kept to simple lines
without any shading.

then with a fine brush put in quite
black shadows.
is
obtained by
Simple Lines
Some advertisements show
Begin by lining in as in the
first figure.
To supplement
the simple lines a good effect
Fig.
shadows.
this
making
the lines thicker and stronger.
blacking in certain
very strongly. the shadow side of the sleeve and coat following
. 46.—
68
FASHION DRAWING AND DESIGN
In these Erte also displays so
much
imagination that the dis-
paraging remarks about fashion drawing can easily be silenced.

Line Drawing using Mechanical Tint
69
.—
UNE DRAWING
Fig. 47.

48.
Showing Shawl and Embroidery
.—
Fig.

the
edge of the coat against the
skirt.
Fig. 49.
54 and 56).
Method
of indicating Serge
ILLUSTRATION
Your
client.
however.
If this is
followed
out a good strong drawing will be produced.—
LINE DRAWING
71
the shape of the folds and creases.. wishes you to show clearly to his customers
that the dress offered for sale
woven or brocade
is
made
material.
unless the drawing
is
elaborated. etc.
49). the triangtdar bit under the
re vers.
The
.
and
in silk. serge {see Fig.
it is
impossible to do this
{See Figs.

50.
on the top
55)
of the fold.
I
different materials.
first
can give some directions and the student
up his own style on these
draw straight lines broken
practise these until he can build
foundations.
Then
before begin-
how you must convey
the idea of
Woollen check and material in Lint.
must
in.
and
in the lighter part
.
where the
For
silk
light falls
(see
Fig.—
FASHION DRAWING AND DESIGN
72
preliminary drawing must be just as careful as for the outline figure
and
all
the principal lines should be^drawn
ning the other part think
Fig.

—
LINE DRAWING
Fig. 51.
Pen Drawing by Erii
73
.

52.
Study
of Detail
.—
74
FASHION DRAWING AND DESIGN
Fig.

so
much
it reflects
of the day. and zigzag lines joined
to loops have to be put in to satisfy his requirements.
is
another style which
the "Souli6. you might say.
study from
then strike out a line for yourself. thin lines which show exactly what
it is
clever
they are meant
The
best
way
Every
one.
left
and
the
fold
horizontal. others bordering on the eccentric
. a
all
{See Figs.
and
Soulie's drawings are strong
virile
.
chiffon are drawn with light.
is
little lines
round
expressed by masses
and narrow high lights left white.
For black or dark silk thick lines close together should be
drawn and the folds blacked in with a brush.
to look thick. 57
it will
Be
original
these good artists and
and
58. 50)
made
or woollen dress should be
done by lines each side the fold nearly
wide to show the woolly substance. 53).
Another great master of line is the French artist Soulie {see
Fig.
but if the drawings are examined the student will find method in
The lines follow the drapery.
is
it
is
If
advertisements are examined
made experiments with
unmistakeable.
and without seeing the
a Barribal. some
very clever with a touch of genius.!
LINE DRAWING
draw
75
rather resembling forked lightning
little lines
this is for light
. leaving the high
silk.. lace and
this seeming carelessness. dashed in. so different from Erte that it is difficult to realise that
of black
both use the humble pen and ink.
his style.
signature
Lucie
we
for. and velvet.
is
to try
artist is
all
these methods and then specialise in
known by
can generally tell
Attwell
.
A black fur cloak can
the edge to show
it is
be put in quite black with
Velvet again
hair. The dresses
are quite original and show the trend of fashion in France.
line should
but against these the
lights.
It is interesting to see that
in the Salon of 1885
the
mode
There
the reproduction of Soulie's picture
might be a fashion
plate.
A
knitted golf coat
be wavy.)
be seen that artists have
the pen more or less effectively. the penmanship shows great
freedom. not straight.
there
is
no attempt at the
merely pretty pretty and obviously sketched from life."
I will call
neither outline nor elaborated in the
way
I
have
This
is
just described
and the drawing good. and this
is
In some cases the client will request the artist to show that the
jumper or coat is made of Shetland wool. a Shepperson.
the difference
Don't be a poor imitation
.
{see Fig. silk and lace are.

53.—
Fig.
Drawing by SoulH
.

but
the clever manipulation of line which gave
P*S. as there are windows and a suggestion of landscape outside.54-
Brocade in Line
it
it
was essentially
the unique distinction. and silk
stockings was entirely drawn in perpendicular lines. obviously in a
carriage.
56. a man and a girl.
to advertise silk stockings. The picture
consisted of two sitting figures.
— Tweed
The whole drawing with the exception of the face.—
LINE DRAWING
and
of
no permanent value.
. it
77
There was a sketch in an old magazine
was carried out in wash and line and
should perhaps have come under that heading. hands.

.

58.
— Newspaper Advertisement:
Furs in Line and Mechanical Tint
.Fig.

Line drawing by C. Roller
. 59.—
8o
FASHION DRAWING AND DESIGN
Fig.

the printer has
shaded them by a mechanical process. although
we
{See Fig. the
cushioned seat. which
. the face. torchon.
expected
—whichever
The same applies to
nothing new under the
may be true. the
expressed by the line being
but
still
made very much darker and
broader. his stick and her hanging bag. and then be told by some
Victorian that it is only book muslin imder another name. Valenciennes.
washed
Details in Line
hands and
silk stockings are carefully
in.
As
I said before.
materials. their shoes. Many
of the illustrations I am giving here are the result of my own
sun.
Fig.
but this
is
not so
.
DETAIL IN LINE
I think
There
new
is
it is
no
more
difficult in
infallible recipe
and
sMie ways
it is
to
draw
lace in line.
straight. 57).
holds the passing fancy. The detail is shown by white spaces where
the straight line pauses and then is carried on. the student will probably think that they
are
wash and
line drawings.—
LINE DRAWING
and
the wonderful
it is
way
in
8i
which these different objects. his suit. The shadows are
girl's
hat.
In Harrod's advertisement illustration and" the one from "ly'Art
et la Mode " (Fig. the
man's hat. and a trolly are seen
through the window.
60. 60. her dress.
a question of experimenting
patterns are constantly brought out and the artist
to depict Irish crochet. but if we are asked to design a dress of
organdi we may wonder what it is like.)
are told there
is
filet lace
is
.

Detail in Line
:
Celanese
by a few crossed lines. 6i. these follow the folds and are drawn in a different
direction to those of the mesh.
fine lines.
Thick.
For
in
must be lightly drawn
The mesh should be shown
fine lace the flowers. white lace
is
indicated by the design left white and the square holes in the
better
mesh
. and I shall only give you those that have been
successful. leaves or design
and outlined with very
Fig.—
FASHION DRAWING AND DESIGN
S2
experiments. coarse. but not too many or the lace will look hard
and stiff. Extra lines should also be drawn to show the way the
lace falls.

. 62.Fig.
shewing the thichness and depth with very few Hnti.
This White Fur Coat drawn by Miss Hilda Russell is a very good example.

and not only sureness of touch.
is
more
like
or the bristles in an old broom. richness
it is
Fig.
It will require
and
way
much
in Line
too often a drawing of fur
porcupine quills than anything
the
Fur
else. and in line
impossible
to
get
the
same
effect.
FURS
Illustrations {See Fig. but knowledge of the
way
the fur divides and the direction of the hairs.
practice and
much study
the hair grows. delicate little crinkles
then draw them in pencil until you gain
sureness
of
touch.
of the skins.
lends
itself
and depth in a fur. the
folds. 62)
There
is
a great art in drawing furs in
Wash
line.
63.
the linen threads of the lace showing
up white on the
black.—
FASHION DRAWING AND DESIGN
84
blacked
in.
done to give this softness
.)
I will take
Black skunk has usually
.
two
or three usual furs. the length. 63. but much may be
almost
so easily to the fluffiness.
(See
Fig.
Note
soft.

which are put in quite black in the deepest fold. but in
.—
LINE DRAWING
three or four strands.
ermine
is
very soft and winds
even on the plain part you find
Fur Coal'showing method
of
drawing in Line
uneven creases.
.
soft little folds. (See Fig. Natural
musquash and squirrel have much the same treatment.
but with very light touches for the shadows.
85
the hairs forming these separate pieces
overlap each other.) A
row of tails helps to break the monotony of the surface. 64. 65. with light lines between. leaving high lights
to
show the
glossiness of the fur
round the neck in
Fig.

—
fig. 65.
Aitothtr
txmmpU
0/
Pur
in Lint
.

Line Drawing from " The Lady
'
. 66.—
Fig.

67.
— Line Drawing with Mechanical
Tint
.Fig.

.
Wash and Line by Renee Maude.89
^^^i^^
Fig. 68.

.

If
the
required on the face and perhaps only a small line
to be altered. as they almost
appearance. in fact. the head must be the same.)
CORRECTIONS
Before leaving the subject of line
corrections.
If
boards or hot-pressed drawing paper.
In dealing with the golf coats.
fine
had that
{See Fig.)
curved
lines.
Faces sketched with expression.
The second method is to emphasise the principal features by a
few lines of shadow by the eyes. as
thicker and blacker. as the ink
with broken
91
with more
is
put on in black masses. with as many lines as the artist thinks
necessary.
deep black.
off the surface
rub
it
line
by
will
deal with
it is
careftdly rubbing
too
much and
is
making
used.)
where
lines
silk. and
come and if the dividing
is
how
line
the hair comes over the line that a good
(See Fig. as
it
tends to take
leaves a groove in the paper. modeUing and. and I
must impress upon the student that the whole figure must be in
harmony. So if you are drawing the figtire
in simple hues. and the hair
is
much
is like
Black fox has sections of
longer than bear or skunk.
draw
In the chapter
I shall probably deal with this subject again. tapering off to a point at the tip. under the chin. and you will find the paper almost uninjured
and you can then ink
in fresh lines. as
no one
is infallible. very thick camel hair ones I had
to sketch had to be treated just like fur.
fluous
and wrong
Do
ink eraser.
There are at least three styles of line work for the face. 50. 64.
lines for hair.LINE DRAWING
these the coat or stole
by observing where
or dark and
is light
result is obtained. the whole
of the head drawn in detail.
Seal
is
watered
made with a number of skins.
Pony
the light touches the fur. so very often the face is seen in outUne and the dress
with all the shadows drawn in.
. and by the nose
and the mouth.
it is
these sections
the easiest fur to show.
the paper takes the ink a
correction
is
I
good paper
is
little
This also requires care.
it
can be painted out with white. curling at
on millinery
From
this centre rib
the end of each one.
Draw
the rib of the feather with two lines slightly apart at the
base. forms the third method. Bristol
easy to erase any superit
out with typewriter's
not erase only in one direction. 66 and 67.
(See Figs. but
gently both ways.

)
At first this does not seem
carried out in line. waterpoof Indian ink in the
in the preliminary stages of a line drawing. as a good effect of hair can be given with very
few lines and an almost flat wash.
etc. 70
first.
The
drawing
same way as
hair need only
be lightly touched. in others
the underdress is washed in and the overdress. line. the result
At one time the
is
artist
good. given a really good drawing. When the eyes.V
AND WASH
LINE
It will be noticed that
many
for their illustrations.
difficult until the artist tries the effect. and he was handicapped
wood
to draw everything the
direct
Now
by having
made
copper blocks are
from the drawing. wash or all three. nose. a flat
face. 68.. Sometimes the entire dress has a flat tint all over. mouth. of course.
I
methods. The accompanying illustrations
will give some idea of the use to be made of this combination of
even more than plain wash and simple
not understand the term line and wash
line. that.
are
drawn and the ink
put over the
is
dry.
drawing on
and
75.
was pinned down to one medium and
not allowed to combine the two. with some shadows and details put in with
wash. but reproduction
has made such great strides.
make
In the old illustrations the artist had to
his
blocks or steel plates. tunic and details
(See Fig.
reverse way.
I think this
and wash
of the best papers use line
method
bristles
with
difficulties
For those who do
must explain that they
are line drawings.
{See Figs.
When
this
wash
. A wash drawing was begun
and finished in wash without ink lines added. taking care it is
wash
of black
can be
not too dark.)
It is desirable to outline the
using.
it does not matter if it is in chalk. as the artist does
not wish to give a negro appearance to the head. and then the result is sad
and leaves him humble indeed.

93
Good Illustrations of
Line and Wash.
70
.

.

72.95
Fig.
.
Examples
in
Wash and
Line.

.

The
too
must be avoided
principal snag which
many
lines or too
much
is
the danger of
paint so that the result
is
not a line
and wash. so that there should not be any inequalities in the
the face
over. 69
light
figures
from the Sketch have a
shading and detail. extra lines
emphasis. hat or coat
must have the wash and line arranged to bring out the best points
In these wash and line drawings. and each must work
.
artistic. thin wash. the neck
work.
it
washed over
but
if
in a
the figure
may be striking but is frequently
In line and wash. so I must impress upon the student
to look at the drawing and quite decide upon the amount of line
and where the wash will be most effective. the rest
of the figure in plain line.)
The overdress and the hat
are in wash.
A
chiffon taffeta dress with side wings of lace
should have the taffeta washed in and
sketchy lines to give a
the lace done in very
transparent look to
light.AND WASH
IvINE
is
97
can then be put in to give expression and
also dry.
all
is
more
all
white against black
startling
than
is
very
so than in the sharp contrast with line alone.
a few lines under the chin and on the dark side of the neck.
is
washed
If
and arms should be done at the
same time.
{See Fig. the background painted with a light.
out in his or her
it
I
artistic.
of the drawing. 72
slightly.)
line.
think the use of masses of black with line and wash
much more
figure in a delicate
gown
of
some
airy fabric
light tone against a black curtain is charming. This can only be done
by practice there is no hard and fast rule.
and
73. a deeper shadow under the eyebrows. 72. the wash
is
principally to emphasise
contrasts of colour or material.
the taffeta must be added to bring
it
into
it
.
French and American magazines vary
but speaking broadly. but a line or wash. the lips darkened. the figure may be
white. finished with fine
{See Figs.
and 71.
lines for the
.
head in quite simple lines
and only use the wash for the dress and background. much use is made of
in each.) The two
wash all over.
a few lines on
harmony with the
rest
The artist will see that each dress.
the masses of black such as I described in the chapter on
{See Figs.
A
own way. A very
smart drawing can be made for a millinery head or for a stole
or scarf. by sketching in the hat and scarf in line and putting
It is also permissible to leave the
a wash on the face.

Fig.
heads executed by the young ladies educated at a select seminary
and belongs to the pretty-pretty age
consists of tiny strokes or dots.
His sketches are finished pictures.
Sketch the figure in and shade with
lines.
Hair
is
very successful
among them Stanley
artists.
Some
I.
which
uneven
Stippling. a better result
in one direction
from thick to
thin. and with that of a few others.
easily
If all
the drawing
rubbed and soon
sketched in
is
loses its slick
in conte. but otherwise when much of this has been
done the drawing looks
in chalk.
than
of Mr.
Purvis's paintings are in
oil.
and many
stiff
and
stilted. his
go far to abolish the idea that a real artist does not paint fashions.
Tom
see far worse sketches
artists
in the R.
may say I
many fashion
Inddentally I
and R. 74 is a fine example of his drawing in chalk and wash. it is
first
and clean appearance.
obtained by drawing them
all
massed
strokes.
but this medium
.
the modelling begun in the wash can be very
On
the face.
Get a good conte crayon from any of the art shops and sharpen
to a fine point. A. and in chalk
and wash some artists wash in the figure and some of the detail
and finish up with the chalk.
much improved
by the assistance
of the chalk shading.
Mr. 74.
is
patch in a drawing where there has been some rubbing-out or
a fault in the paper.
The background should have very bold
—in
black and dose together
lighter ones
is
fact. leaving
a smudged and altogether unsatisfactory sketch.
Do
on the outside. draw
the heads for the hairdressers' advertisements with conte.FASHION DRAWING AND DESIGN
98
{See Fig. and where the lines are close
has almost the appearance of being stippled.
Tom
Purvis
is
certainly
an acquisition to the ranks of
work should
fashion artists.
turn out.
of art.
There are generally two ways of using materials. but this
old-fashioned way of shading should be avoided and only used
as a last resource it irresistibly reminds one of the elegant dark
together
it
.
useful to rectify a small. with
not cross-hatch.)
Chalk and wash seem to follow naturally on the
method I have just described and come into the same chapter.
dose
together in the shadows and further apart in the lighter portions. and
if
of
any other subject would
readily find a place in art exhibitions.
some very
for the very dark.
Davies. This is a good method and does not
mess up the drawing as the student can see where to place the lines
in the conte.

o
OS
M
d Q
O
M
a.m
as
W
P-.
<
w
Q
O
O
o
.

.

.

74.
.Fig.
Chalk and Wash Drawing by Tom Purvis.

and
and white. such as chairs and couches. I
It is
103
am
dealing with
it
here. semi-transparent.
(See Fig.
LINE AND WASH
I
should
not recommend to the student.
fine toothbrush is then dipped in the ink or paint and shaken
A
Great care must be taken. If the black is too
wiU splash and blot instead of sprinkling Uttle dots over
the surface.
I must also write about drawing with the brush. the first application
of the ink must be left to dry
a second spattering can then be
over the drawing. If any part is desired darker. to get the texture of the tweed quickly
a piece of rather
on
stiff
paper.. the figures
tried.
An
made of a winter scene of
wearing white wool dresses and white furs.
training
is
requires
It
special
not so easy to manage as water colour or black
WORK
SPATTER
(See Fig.
be fastened down with pins to prevent
it
slipping.
similar
methods are used generally to
although for a rough material
it is
very effective
and gives a better suggestion of tweed and similar cloth than covering
it with little dots made by the pen or brush.
liquid
it
.
it.
is
placed over the
costume or coat. The
background of grey sky can be put in by spatter work.
in line standing out against
Of course these and
get a
little variety. 76. Spatter drawings for fashions are done
in the same way.
The
drawing and paper should be held down firmly with the hand. 76. cut this
out carefully and replace the paper on the drawing.
skating
attractive sketch can be
figtu-es. getting the required thinness and sufficient quantity to
finish the drawing without waiting for a further supply.
This reproduces
.)
As
this
method
is
generally employed in con-
junction with line or line and wash.)
Indian ink or process black with water should be poured into
a saucer.
Like stippling it dates
back to the time when young ladies made blotters for bazaars
and ornamented them by placing dried ferns on a cardboard
and with a
fine tooth-brush spattering ink over the white part
the ferns were then removed and a pattern of the fern showed
up against the background. If a rough tweed coat or costume has to be drawn
for
an advertisement. which must
be entirely covered except the part to be spattered
it should
figure.
sometimes applied to backgrounds and sometimes on the dress
or accessories.
this trace the outline of the
.

which is almost a separate
in the chapter
branch of
The
. or
The figure
same way
outlined with the lining-in brush in the
the lines are unbroken a strong convincing drawing
if
shown.
for the use of the
the
{See Figs.
this
knowledge I am hoping the student will gain by study
I cannot advise him to draw with the brush without
practice.
photograph.
otherwise surplus colour will be deposited at the ends of each
line.
when drawn
is
but these are only for guidance.
on line these can be obtained at any art shop. the strokes should follow the contour of the cheek. look like
if
a stencil. and must continue its movement
until after the flow of colour is stopped at the end of the stroke.
AEROGRAPH
The Aerograph is very useful for backgrotmds and fine shading.:
FASHION DRAWING AND DESIGN
104
very well for newspaper illustrations and has the appearance of
If the student has mastered line and wash this should
stencilling.
77 and
courtesy of the Aerograph
Aerograph
—
78.
foundation
lines. knowledge of drawing and essential
lines
and
.
and it is sometimes difficult to detect where it has been used.
They are most useful for lettering. of course.
particular use of lining-in brushes I wish to point out
the facility
is
with which a drawing can be begun and finished with
the brush.
and
art.
also for blacking in shadows. The Artist and
TO BEGIN :—HOW TO MAKE STROKES
Hold the Aerograph in the manner indicated in the above
Note particularly that the hand holding the instrument must be in motion at the time when the finger-button is
pressed to start the spraying.
.
GRADUATED TINTS AND SHADINGS
In making these
it is
important that the strokes should follow
the erection of the contours. given.
it is only by the evenness or absence of brush marks that it can
be noticed at
By
all. as I said.)
Company a few
hints are given
Aerograph from their booklet.
I mentioned a lining-in brush earlier
be comparatively easy.
and
is
This outline will be
spaces are left at intervals will..
in shading the curve of a cheek
in a portrait.
in which the simple pen lines are drawn.g.
thick.
e.

as with the
spray of colour. spaces are
unfinished look
pulls the
if
. as there is always danger of the paint
spreading and spoiling the drawing.
Chalk papers which are covered with
used at one time. as the tints
modified by adding to them in the colour receptacle of
The
the instrument.
. so deUcate indeed they
may
be quite invisible and only become visible by repeating the
Moist colours are preferable to dry.
latter there is risk of undissolved particles getting into
and clogging
the instrument.
Do
movement.
colour also need not be of the exact thickness
or depth required.
FLAT TINTS
To make
flat tints it is
necessary to apply the colour in parallel
when the colour
somewhat deeper in the
strokes partly overlapping each other.
artificial helps.
make an even tint with a
cloudy or lumpy effect.
it is
almost impossible
Of course spatter.
If there is
in
a group of heads on one board planned for a page
a magazine.
circular
not attempt to
as this causes a
PREPARING AND MIXING COLOURS
It is not necessary to
may be
mix the colours on a
palette.
An
were much
made on this
lines in squares
ink or chalk drawing was
.
and paint fashions without having recourse
to any of them.
left
between them which give an
by the Aerograph it
these spaces are shaded
whole drawing together.
or line and gradually working
away from it.
The parts of the drawing which do not require shading should
be masked as in spatter.
spatter
is
useful. as with a colour of full strength the
most
delicate
tints
can be made with the Aerograph. because
is
discharged from the Aerograph
is
it
centre of the spray than on the outer edge.LINE AND
To prepare graduated
WASH
109
practise starting with a dark edge
tints. and it is
effect.
It is possible with skill to
get fine gradations of shade and a very even surface
much more
irregular
The Aerograph
is
and would not be so
often used for shoes
for the brush to get the
same smooth
Aerograph and rub-out paper are
quite possible to design
all
. raising the Aerograph
you extend the tint away
further from the surface of the paper as
from the dark edge.

I
iJ5
S
^
.

Silhouette drawings are very
attractive.)
and not only that. form a pleasing
change from the ordinary advertisement. giving a brilliant appearance.LINE AND WASH
ill
paper and completely finished up.
the high lights put in
much
Grey and brown paper can
with body colour. 79.
SILHOUETTE
{See Fig.
but are quite adequate in their representation of style
.
and when employed occasionally for illustration.
masses of white paint.
better than
also be used. the high lights were then
scratched out.
and lace.
Silhouette portraits were very much in vogue some 100 years ago.

112
VI
AND
CHILDREN'S FASHIONS
Daintiness seems the right word to
tise
LINGERIE
for the style required
for sketching anything belonging to children or for the ethereal
garments generally designated "
lingerie.
curtains.
to suggest action that makes the difference
and
orders
I said at the beginning that there
Children are never
the pose. the
principally in line.
he
this
will find
but very
little
no lack
supply.
this
most
difficult
branch
that line or line and wash
.. line or chalk
different
of art. generally speaking.
by
some
considering the children depicted in
of
These make a certain appeal
their smartness.
me
to recapitulate
how
to paint
the student should be conversant with the
methods before attempting
I think.
. 8i
and
It needs a special gift to
82.
must emphasise what
I
be
is
demand
a constant
people and the real children of Gladys Peto."
CHILDREN
{See Figs. Miss Hocknell
others. so
and
There
of work.
etc.
Miss Peto's drawings are extremely dainty. and she
places her masses of black where they will have the best effect.
if
really
be able to draw
the student can specialise in
if
is
good sketches can be offered
to the advertising managers the artist will have as
as he
must
and it is the ability
between stiff wooden
still.)
children in natural positions.
It will not
be necessary for
in wash. with a very slight
little
garments
wash on the face and hands.)
I
am
not
now
the up-to-date fashion magazines.
cushions.
life in
little
many
able to carry through. 86.
seem
just right.
(See Fig.
The surroundings
of
windows.
Miss Hocknell's children are beautifully drawn.

. 82."3
Fig.
Children from Vogue.
Children from Vogue. 8i.
Fig.

.

—
CHILDREN'S FASHIONS AND LINGERIE
wash
Numbers
115
are better for drawings of children than
alone.
children of friends are better than professional models.
in fact in every position
84 and
ones.
of.
rapid
pencil
dancing.
Figs. as it tends
to give a heavy look to the figure. as
.
etc.)
Make
child's dress
children
walking. 83.
of pencil sketches
must be made
in the
same way as the beginning
Fig..
you can think
These should be from
life.
playing.
The
83.
sketches
of
Smart
85.
{See
possible.
if
running.

84. draw half-circle lines and little tendrils of hair
or
.
See Name
on Selvedge
The cotton
fabric that cleanses easily
Fig. most intent on the mechanism
Hands rather short and plump with creases at the wrist. dimpled chin
open eyes.
I
think one
two children in smocks would be easy for a first attempt. If
over the forehead
the hair is curled.
of a toy. or the long lashes down. If the hair is
bobbed.
drawn very carefully and then lined in with ink.
the face too old
little
full
nose.
and the legs long and slender.
coming from them. notice how it curves under at the back and is cut short
draw the ink lines to show these points.
upper
lip
A
— Child with
Toys
great danger to be avoided
is
making
try to get the lovely curves of childhood.
under
. a perky
lip sticking
out in a most fascinating manner.FASHION DRAWING AND DESIGN
ii6
the movements are freer and more spontaneous.
The smocks may be ornamented with
feather-stitching
or
.
and wide
tucked in at the comers.

with a figured one on the left
.
It
made
may sound
.
The
— Children in
VJesh/andi^epr^
Pen Drawing
child holding cherries in check. 85) is worth studying for the contrast
in the dress a plain one in the middle.
a big
bow
of ribbon
on the
hair.CHILDREN'S FASHIONS AND LINGERIE
117
smocked with a contrasting colour or embroidered with rows of
animals in any case the great aim is simplicity.
A
party frock
is
much more
and almost invariably
a more difficult proposition and
detail is needed.
:
and spotted on the right. the touches of black in the
kitten and the gollywog strengthen the sketch. 85.
/S/-
Fig.
The Hercules group (see Fig. sashes floating out. such as insertions of lace
ribbon run through slots of embroidery.
into
little rosettes.

or blue serge over white. which
is
very important
and might have a chapter devoted to it. These dresses must have shoes to
long box-pleats and girdle of cord.
correspond.
a younger
child.
square-necked with
The dress in serge or cloth
material. without
losing the
young
girlish
appearance. brown or black for outdoor
wear and white kid for house or parties.
but there
seven-year-old.
I
touches about a very
by the very skimpy
which are not much longer than one
skirts of the seven-year-old.
Before leaving the subject of shoes.)
have pointed out the danger of making children look too
old
there are other pitfalls to be avoided and one is the different
ages I might call them the four ages of childhood.
for
A
small difference between a three-year-old and a
is
cannot give an
infallible rule.
these
from nine to fourteen or upwards.
and
wish to give
—don't put an
is
that the figure should be appropriate
old. but often
the various garments are sent with no guide but the artist's
knowledge and common sense.
heavy-looking dress upon a slender
The same advice
in the prevailing
—smart
applies to a maid's dress
mode.
.
The advice
to the frock
I
graceful figure.
—
the child.
and
maid's dress
this difficulty is increased
is
fairly
easy. 87-88.
These have ankle straps and quite rounded
toes. They are then more like grown-ups but with
flat heels and rounder toes. we must consider shoes
for very little children.
is
It is
given you to sketch. thick brogues or
gym
shoes. Some rather like a girl guides' or
are generally
sailor
dress.FASHION DRAWING AND DESIGN
Ii8
complicated. to ask for what age
much
it is
safer. but gives great scope for daintiness and for the
sketching of fairy-like fabrics. the schoolgirl and the maiden. and are made of very soft leather. there are
one's dress which are left out
little
when
they are a few years older.
I
. if a dress
intended.
The
artist is often called
worn by
upon to sketch a games
dress
. Children a little older
still have similar shoes and the style does not change until about
seven or eight. The infant.
or boots are worn.
girls
others in the
djhibbah
style.
(See Figs.
Maid's shoes are another matter
very
much
when special shoes
With the shoes comes the question of suitable
in the fashion except for games. it is without sleeves and worn over a blouse of contrasting
shade and thinner material such as brown cloth over tussore silk.
The style does not vary much.

88.
.
much smarter than fancy
colours.CHILDREN'S FASHIONS AND LINGERIE
stockings. Little
girls look perfectly sweet in the small poke bonnet shape with
narrow ribbon twisted round the crown and ends hanging down
at the
back.
121
Children wear socks until they are nine or ten.— Dainty Children
note of simplicity will be seen in looking at children's hats.
on
Millin ery.
The same
I did not deal with children's hats in the chapter
Fig.
which seems to
thirty?
or
a
suit
Tam-o'-shanter of never-failing
any
face
from three years old
popularity
to.
as they are usually included in a children's department. shall I say. Older girls have thin silk stockings
and cashmere for school black or brown look
for dress occasions
the best and are
. plain
or striped to
match the dress.

you can get better folds into the drapery and
show the trimming. Design the cap if you have not one sent
with the nightdress.
LINGERIE IN WASH
kept
light.)
same chapter as they both require dainty treatment. silk embroidery and many varieties
of detail.
This must be. These caps are a great asset and make an
If possible have
otherwise ordinary sketch into an artistic one.
I
suppose the result of their studies from the antique. and white
necessary for the pattern. and draw a verypretty face with boudoir cap.
.
also
well.
If a nightdress of crepe-de-Chine
used. broderie Anglaise. if possible.
dark side to the
colours.)
has to be painted.
it
should
it is
always
indispensable. I hope have been practised.
First I must speak of the drawing. keeping the very darks for the folds
under the arm and where the material turns over. or for the tiny
Although there should be a light and
folds into a ribbon belt.
is
not be put on until the finishing touches are required.
I will deal
and only
in the principal
shadows much black
Although white (Chinese or Albanine)
better to leave the white paper
the trimming
once
if it is
is
—of course
I
mean
a different matter. wash
it
in
as you would a crepe-de-Chine evening dress. 94.
90.
a sitting figure.
Lace.
is
for the material
may
be put on at
{See Fig.
more accurate than one intended for a costume or dress the arms
and neck are generally bare and bad drawing is easily detected. 89. so
the student will see that extra care must be taken.—
FASHION DRAWING AND DESIGN
122
LINGERIE
I have put lingerie and children's fashions in the
(See Fig. and the
folds resemble those on a sculptured figure and do not convey
the impression of lightness and graceful
Wash
lines. The materials
are usually thin and lend themselves to delicate line drawing and
also to the strong contrasts in the black and white of a good wash.
The whole drawing must be
with lingerie in wash.
as this knowledge will now prove of immense use.
{See
Fig. which is generally on the top part round
A standing figure can be made to look
the neck and sleeves. as the Ungerie is generally
white or in light
found better to paint the whole figure light against
. some of which I have described. it is
figure.)
in all the shadows.
but students frequently get
a
Greek
statue
effect.

used for drawing lingerie or line and wash.
well placed and vignetted off is very effective. the line of a fold instead of ending abruptly
being continued by tiny dots. The fineness
of the material seems to be shown by fine line almost better than
line is
and this method has been employed with good results. this
will
add to the
artistic
appearance of the drawing and obviate
the necessity of running in black against the figure.
is
very
much used
to throw
but must not be made to hide bad drawing
overdone. which adds to the delicate effect.)
In these drawings black
figures. and a
a standing figure in night-
pyjamas or dressing gown gives just the right touch of
Some of the figured or striped materials used for pyjamas
or rest gowns do not require this setting. and instead of giving this effect
heavy and overloaded.)
figure
in
petticoat or nightdress
the effect
can be obtained by a dressing gown thrown over one shoulder
and one arm and held up on the other side by the hand.)
in wash.
Lines ending in a
little
curve like a pothook also indicate the
thinness of the material. as the shadow side of white
than
surroundings. 93.CHILDREN'S FASHIONS AND WNGERIE
a dark background. and almost invariably for advertisements. 92. 91. which
carefully
done
will
sometimes spoil the entire drawing.
contrast.
{See Fig. In wash drawing the lace should as a nile be
.
there are several figures this
For some catalogues.
A
little. and should be drawn with
a backing of plain paper and placed against another figure in a
dress.
however.
shown by the accompanjdng illustrations.
it
up the
may be
makes the drawing
most useful.
as
ILLUSTRATIONS
In studying line drawings of lingerie notice
how
the lines are
finished off with dots.
white garment without any pattern on
it.
{See Fig.)
DETAIL AND TRIMMING
The detail and trimming in lingerie must also have the lightness
and daintiness I have described as essential for the materials in
wash and line.
if
not
Where
method of washing in black must
and
two white figures with the black
be used to a certain extent. 92. {See Fig.
its
If it is
a single
is
127
as a rule lighter
(See Fig.
black dressing table against which
is
it
is
.

91.—
128
Fig.
FASHION DRAWING AND DESIGN
Line Drawing of Pnncess Slip with only the simple essential line
.

.

Lingerie in
Wash and
Line.I30
Fig.
. 92.

the ground-work
and the pattern drawn with Process white and Albanine.
of impressionism is allowable.
Many West End
houses. will allow the artist to indicate
P'g.
is
every leaf and petal shown.
.
A
which
certain
may
it
creep in
amount
shadows this takes
the whole of the detail
in the
if
.93-
— Two
Figures showing black in background
the pattern in the high lights and lose
away any
is mapped
I. however.CHILDREN'S FASHIONS AND LINGERIE
qviite
—that
defined
blacked
in.
131
stiffness
out.

CORSETS
Corsets are very.
it
may come
out a patch of black with
no distinctness.
and on a very attenuated figure the same corset would look short
and the bones awkwardly placed.
first. fat figure
and alters the position of the waist.
the lace trimmings. A dumpy.
Lingerie
.—
FASHION DRAWING AND DESIGN
132
The same
stiffness
than in wash.
Some lingerie is shown on the figure above
and below the corset.
also the suspenders. sUk. and the artist must always make an
painted or lined
in.
are
drawn and crowded.
The waistline of the corset should be taken as a guide. so the pattern
that is when the lace has ten flowers across the
To make it look lacy only three or four would be put in. if
there
is
drawing almost more
is
much on
that as lace has to
the garment
it
may
were white trimmed with black. very difficult to do
drawing of the figure
outline
.
The whole aim of an advertisement is to show the goods offered
to the greatest advantage.
Fig.
corset
any
fault in the
is fitted
on to the
out of proportion. the bones of
wrong place. embroidery
and the eyes and eyelet holes in the busks.
as
. but also to give the best effect to
anjrthing he has to draw.
effort not only to
be accurate. Put it
on a dummy and draw each line in the right direction.
it
look as
in line
think the reason for this
I
be drawn with black
make
must be avoided
if it
lines.
if
is
shown when the
the figure vmderneath
is
. giving them
the corset will
come
in the
gives a clumsy appearance
the correct curve over the hips
.
when it is reduced these would be qviite close together if more
must be spread out
.
yoke. 94.

.
but
one
tempted to think it is conceit and the idea that whatever they
choose must be " vastly becoming.
beUeve in the sincerity of this sentiment
.P*g.
them or
not. no
will
and no thinking out an attractive grouping). the client. as her
printer or art agent.
decision generally over-rules the
mere man and
is final.
soon find out that his ideas are mistaken
—
conclusions too soon.
pretend to be. the head
that she should be printed in capitals. or
difficult to
a subject
Of course. entirely indifferent
as to whether the hat they are wearing suits
it is
it is
women.95-
—^"'« drawing." as Pepys would say.
First of
all.
is
The
artist
has a
difficult task.
and
if
he approaches
it
thinking
that he can paint a head and hat quite easily (as there wiU be no
hands. but not least.
I feel
:
the
and last.
the artist will have three people to please
milliner. showing treatment
of feathers
VII
MILLINERY
This
of
is
a very important branch of fashion art just as
most profound
there are always
interest to the majority of
some who
are. he
he has jumped to
feet.

The
should get someone to wear the hat for her to sketch.
washing over
the pencil with plain water before beginning to paint. which should only be done
work and the
printer's
Figs. 96). that in
generally
drawn without the
not time at the shop or warehouse. In the chapter on wash drawing I have touched
upon this.
I
the preliminary sketch the hat
face. reaching this point there are several mile-
stones to pass. scrap
it
and take a
This seems rather drastic.
That
is
Mark out where the eyes would come and the chin. I should recommend a few very sketchy indications
of features. but
it is
fresh board
far better
if it is what we
boy waiting on the doorstep. some studies
can be made from life. the eyes
a dark side
and the principal features. it will be at once seen that the
must be given to the
most meticulous care
painting. 96. the hat
may
it
to
be of straw
. 99).
in the
same way
is
to
rush
These represent the hat in the three stages
as the dress. again. 98.
most
It is
essential that the artist should paint
a pretty face.
if
the student has some friend.
wash.FASHION DRAWING AND DESIGNJ
134
Before. with the features most carefully drawn
and modelled. without any accessories of dress to take the
attention.
or velvet {see Fig. and not only fit but look smart (see Fig. 97. The rough-out
brought back to the studio and a suitable face is then drawn
fit the hat.
HAT MATERIAI^
Notice
if
the hat
is silk
look Uke these materials
.
it is much more difficult to fit
a very good guide for size
. If the artist is so unfortunate as to spoil
the face by making the eyes not quite level or by getting hard
it
fit
. however.
a face to a hat than a hat to a face. one quite satisfied with the hat she
is
wearing
. however. but when the whole value of the drawing rests upon
the head alone.
METHOD
The
instructions
first
for
drawing the head in pencil and
—that
preparing the board should be followed
is. smart and attractive. and paint
then. as there is
call
and
than
must
is
indicate.
lines in the preliminary
b^n
again.
Begin with the hat and lightly wash it in. keeping a light and
then paint the shadow side of the face. as
artist
must
on the head.
patching up.

no
jet.)
with lace
but old and young
is
not so great as
. sometimes it is smooth like a man's top hat
and sometimes left rough.
used.
the edges of the straw can then be
two or more colours are mixed together
show the different shades from
in the straw or silk.
leaving the raised part light
touched in with albanine. loi)
Beaver and velour hats are perennials and every autumn sees
some variety of these the material is the same. then
draw the straw crossed or plaited exactly as it appears. process white only should be
is
straw.MILLINERY
141
and the sketch must show the kind of straw. raffia.
net.
coarse or fine. touch
the edge with albanine in the lightest part and process white in
the shadow. When the lights and shadows have been
washed in. Suede and oiled silk for
wet weather and other unusual materials are pressed into the
.
the straw can then be defined. basket.
Draw
a certain distance between.
style. canvas. tagel. Take
beaver for instance.
narrows the
Some
field
so
artists
much
specialise
in
that I do not
it. wash in
shadows under each piece of straw where it crosses the other.
have described the painting of sequin and
often seen in hats.
BEAVER AND VELOUR
(See Fig. crotchet hats.
{See Figs.
When
lines
round the crown. leaving the detail and also the face nearly finished. keeping
these lines are drawn.
service
of
the
millinery
millinery heads. this
. offer
much
practice
and ingenuity to paint
all
these.
This
If
the straw
black.
is for fine
COARSE OR BASKET STRAW
First draw lines in pencil round the hat rather wide apart. paint it to
very dark to
and
Knitted hats. the jet for matrons' toques
wear very much the same
in former times. The rough beaver is painted Uke fur. but
recommend
I
is
it
designer.
for the smooth very high lights must be shown to indicate the
These are generally sports hats and it is better
glossy surface. I will describe an ordinary staw hat trimmed with
ribbon and cherries. georgette
light.
the difference
and in. only differing
in shape and colour and sometimes in the way it is treated.
to draw a very young girl wearing them.
If
.

If
the fruit
is
although there
not
is
autumn they form a most
light in colour a little white
mixed
—
This is a newspaper illustration from the " Daily News.
but
it is
the shape and the
way
it is
placed on the head which
.
is
flat
The
.
the rage for them every year. but in the
useful trimming.'
pose of the head is good.
straw hat with ribbon and cherries sounds very commonplace.FASHION DRAWING AND DESIGN
142
HAT TRIMMINGS
Cherries are always used in millinery. 102.
to
painted
with a bright
a very good representation of a cherry. will
A
look solid and round a half-tone
first
make
groundwork
is
dry
.
this.
with the black can be used and the colour put on quite
raise it
on one
and make
side
it
when the
spot of albanine. and the corded ribbon clearly indicated
Fig.

a line mtist
be painted down the centre. wide at the root and tapering
off to
a
drawn and
generally curled tmder.
first.
and
little lines
little
branching
frond until
off.
. and must be
look light and graceful.
this is quite
dark enough.
it
turning
looks like
The student must use her own judgment and put
the white lines where they will have most
effect.
See Fig. 103.—
MILLINERY
gives
it
143
a certain cachet most difficult to obtain unless the milliner
and artist have the gift if so. 103
be quite smart.
drawing
When
lines
this rib the feather fronds are
from the centre each side in opposite directions. with Plumes
FEATHERS
made
Feathers are nearly as difficult as fur.
(^1
Fig.
quills.
Paint the shadows in
from
single thread.
this seemingly ordinary hat
for
illustration
of
may
brocade with
feathers.
Hat
N
\
in Brocade. unless fashion's dictate says they must be
straight as if they had been out in the rain. paint with albanine a fiae line
down the middle
of the rib
the ends under
don't outline each
porcupine
.
.
If it is
an ostrich
to
feather.

is of
Straw
.Fig.
Feather.
104. a Wing ani
ttvi kin. Cherries.— Millinery
details in line. a Ribbon
A
spray of Roses. an Ostrich
Bow.

where you get a bright blue rose.
Try and make these as natural as possible.
appearance.
by Miss Bessie Ascough
black and white
it is the colour which gives them a freak
.
Draw
the exact shape of the
.
— Hat with graceful
lines.MILLINERY
147
FLOWERS
In the spring and summer flowers predominate in the trimming. This is fairly easy in
Fig.
109. or a " sport " as your
gardening friends would
call
it.

VEILS
Veils are alwa}^ in fashion. coarse or fine. 109 is another example of Miss Bessie Ascough's art with
silk
free graceful lines. these having the effect of patches. and where
the hat is almost composed of leaves each leaf is defined. however.
In England.
dis-
{See Fig. effectively imprisoning
stray hairs
. wallflowers.
of the flowers are so beautifiilly
modelled that a millin er's room has quite the appearance of a florist's. so it will be
there are few
film of
seen that to paint the veil effectively
is
no easy matter. resembles a
bum
or scar. as it is in nature.
twisted in a basket pattern and form the entire hat.
." the style of the veil is
as variable as the breeze that blows
it
The
about.
mesh with a few black
is much prettier and
more fascinating than a big eccentric design which. so that
when
can easily see from the catalogue
Some
daisies. and
women.
As the
flowers are so well shaped
it is
worth while to take trouble
Get sharp touches under the petals. Again. and worn to preserve the complexion from the
boisterous or cutting winds of our climate.
veil is pre-
sumably of Eastern origin.
veil is
For
drawn down completely covering the
this purpose the
face
and
tied
more
or less tightly at the back of the hats. except for the religious orders. however plain.
and to take the veil is a shutting off from the world altogether.
the mesh of the veil
choice of the wearer. with a lining of
and tulle.MILLINERY
flowers on the hat. etc.
To me
open. in fact there is more variety I think in the shape
and trimming and material of hats than in any other article of dress. the veil
may half cover the eyes and just hang down on the side. the
veil is
merely an
adjunct of dress. but like other articles of ladies'
dress to " make her fair or leave her neat. and indicates withdrawal and seclusion.
it is
if
151
reproduced the purchaser
the hat
is
trimmed with
pansies. 112. who are not improved by the
shadow against which the face is seen. Flower stems are sometimes
in painting
them. and each little branching vein with the edge
round or serrated.
but flowing
hat forms a background to the face. seen at a
tance. at the
is
a rather fine
spots.
Fig. the
centre vein drawn in. the veil
from the back
of the
is
of
no practical
use.)
ItLUSTRATION
Frequently.

On
effect. 105. and a deep but
soft
under the edge of the
veil.
and
vice versa.USTRATIONS
Arrange the
of the face
little
show dark against the light side
Where the veil comes over the eyes.
almost like ink
if
there
is
a
finishes with
when shown
strokes.
drawn. as of course
the brim of the hat should be
quite dark at the edge. going over the part which
is
covered by the veil
with a lighter tone.
a
falls over.
clear.
detail. hair.
in right across the face
Paint the neck and shoulders. 114.
and
The edge
picot which adds to the realism of the painting
by thin
little
coming
lines. are
draw a few
this foundation
form a mesh as you would
border the pattern also should be drawn. but make the detail quite
it
would be
visible
through the net
.
taking the
paint over the hat.
lines of process
to
white or albanine can be used. copying the
it
down
to a pointed end. giving a fine thin
lines crossed to
way
hangs and
it
Very few
lines. In Figs. 106. the hair.:
MII. the eyes
eyebrows
carefully
shadow washed
and
drawn and painted.
(See Fig. if possible. 108.
with very liquid paint wash in the
veil. in fact every part
that
covers.)
. as it is
a subject most
interesting
It will also be seen that the illustrations in this chapter on
MilHnery are in most of the mediums I have been writing about
wash.
(See Fig. neck and shoulder.
and wash and
line.
IlJ.
line.LINERY
153
PAINTING THE VEIL
Paint the hat.
and 107 will be seen illustrations of old turbans.
little
for lace.
veil. One modern
boudoircap from old
design.
I
have dealt with millinery in
and worth studying. even under the veil.)
Fashions frequently come round in cycles. throwing
the eyes deeper into shadow and heightening the artistic look of the
whole drawing. as the outlines will show through
the
Now
veil.

sky
blue cobalt for faces.
is
(Fig.VIII
FASHIONS IN COLOUR
Frontispiece. which is delightfully furry.
Most
is
a demand
by looking
of these
at the
have the front
and generally a page of coloured millinery.
.
i.
The same
tints
can be got in matt colours for the showcard and
flat colour designs. all these with
different and appropriate designs.
"
Fashion drawing in colour may be called the " Edition de Luxe
of this
branch of
colour
work as
art. If a
fresh spring green is required. raw sienna. but these can be tried
first
for
.
That there
in colour can soon be seen
for dainty figures
best catalogues and magazines. brown madder. vermillion. are
also used for the hat and hair.
I
am
taking
it
for granted that the student has
of mixing colours.
The face is beautifully finished. and emerald green.
added.)
a good example of the
The green drapery
in this illustration
way
superimposed over
the yellow
is
the blue to form the green.
The pink in the face is repeated on the tassel of the chain.
Then think
of the
COLOURS REQUIRED
Water
colours in tubes will be needed. cadmium.
A
complete knowledge of fashions includes
well as line
and wash.
yellow ochre. lemon yellow with blue will give
the tint but it is by experimenting that the student will learn
make
a delicate grey for shadows
well.
inside page in colour. but I
may
some knowledge
say that blue and brown madder
blue and vermillion also mix
Rose madder and blue make mauve and purple.
number of covers required for the weekly
magazines.
. The
brown and black tints in the fur.
Other colours can be
body colour Chinese white
should be used with these.
. rose madder. cobalt. varied by special season numbers.

THREE OR MORE COLOURS
(See Fig. hair
the red over the blue. with only a touch of red to deepen the dark folds.
this
processes (Figs. Some paint
and shadows on face. as by mixing the
two colours one part of the dress may be blue and the other delicate
lilac or mauve.
TWO COLOURS
The reproduction
of colour is naturally expensive. the two figures
being taken from a long panel painting. and I can only repeat the old advice
brains. thus making
it grey in the shadows and the
Another method which I prefer and have used with
is to mix the blue and red at the same time.
When
the artist
is
required to draw a cover design introducing
the actual dresses to be advertised. and then put
in the entire figure in blue. or
it
may
be
all
red with blue in the shadow parts. using pure red for the lips. 117.
The
dress
is
probably
entirely blue.
with the mirror
girl
is
another example of
and the three separate colour printings of
are given so that the student may be able to see the different
finished colour work. every colour having gradations from light
" mix them with
to dark.
but as a composite colour more difficult to use. 115-118).
million
is
The
many
which
is
advertisements are done in just two
colours generally used are blue and red. the painting
of detail
and the arrangement of
colour.
carmine with blue
make a very
Rose madder or
dainty drawing. and especially
light part red.
Ver-
the best.
it is
as a rule necessary to use
. with cobalt or ultramarine with a touch of darker
blue in the shadow.
probably the reason so
colours only. 119.
Bold and striking designs can also be made by the contrasting of
black and red or black and yellow.)
This
is
a more elaborate design.
good effect
for the face. Green is also most effective.
the deep tone of the curtain throwing up the light dresses and
figures.
Note in this.
DIFFERENT METHODS
There are several methods of two-colour painting.FASHIONS IN COLOUR
i55
the numberless shades."
The
Fig.

FASHION DRAWING AND;dESIGN

156

more colours. This gives much more scope and allows for
more highly finished work.
In every case it is advisable to begin by making a rough sketch
and submitting this to your client. Any alterations can then be

three or

added or

details left out as he wishes.

This rough-out being passed,

the artist feels that at least one bridge
sketch should then be
surface.

keep

all

Wash in the

is

A

crossed.

careful pencil

made on a process board with slightly abraded
broad shadows as you do in black and white

the colours pure and light

;

do not go over

it

;

until dry,

and treacly.
you have one it is
one part is worked up

especially in the darker parts, as they are apt to get thick

Wash

in the whole sketch with

backgroimd

impossible to gauge the strength of a sketch

if

if

;

and the other part just begun.
In the chapter on Millinery, I have pointed out that the success
of a drawing of hats depends so much upon the face this applies
;

For the cover of a millinery catalogue a pretty
face and a smart hat are often used. Some clients like a broad wash,
certainly to colour.

and others more

Considerable practice

finish.

is

essential before

attempting these millinery cover designs, as the head
rather large and the whole effect depends

upon

it

is

generally

being well placed

and painted.
Begin the painting of the face by washing in the shadows with blue
and brown madder. Next block in the hat and hair, and put a light
wash over the face rose madder, yellow ochre and sky-blue cobalt

—

are suitable colours.

Do

not get the face too pink, a

little light

red

helps the flesb tint.

The shadows should be delicate, not heavy or opaque, and in these
raw sienna and cadmium may be used with good effect.
The hat, of whatever material, must be painted in detail, and the
whole finished up as much as a portrait study.
Touches of body colour on the dress and hat will give just that
brilliant finish

which

is

so charming in this work.

MATERIALS
As we are

considering sketches from model dresses the design must

be highly finished, every detail accurately drawn and the different
fabrics shown, i.e. if the coat is velvet and the skirt of cloth this

must be

clearly defined.

The

future purchaser should be able to

FASHIONS IN COLOUR
see

what kind

of lace is used

To

—torchon or valenciennes.

when

points are of importance

157
All these

painting for advertisement.

paint velvet use the colour very liquid, but get the darks

very rich and deep and for the delicate bloom which

is always seen
on velvet Chinese white should be mixed with colour, and put on
very carefully or it will look opaque. Only practice will give the
facile touch in just the right place and in the right strength. vSilk is a
great pleasure to the artist, even if he sometimes despairs at getting
the effect. The silk is not painted with quite so much water, as the
;

touches are sharper than in velvet or cloth.

used for the high lights, but in silk
are sharp

it is

Here again white

almost pure

;

is

these lights

and broken, giving the shimmering and changing tones.
and these should be put in to give

Silk also has beautiful reflections
full

value to the painting.

Trimming
with a

of gold

and

silver is often

found

difficult in colour,

but

care can easily be expressed.

For gold use ochre and
raw sienna in the shadows, and cadmium mixed with white for the
bright parts. For silver, for the light use pure white, and in the
shadows blue, and with a very slight touch of ochre to prevent it
little

looking leaden.

FLAT OR MATT COLOURS
(Fig. 121.)

A method most frequently used now is that of

ing in Matt colours or with water colour in flat tints.
artists

have had some experience

in

As most

ordinary water colour the

painting of fashions in flat colour should not prove difficult

make a

paint-

;

but to

from the background and look solid is a
different thing, and this can only be done by the careful placing of
colour and some knowledge of colour perspective. Many of the
figure stand out

magazine covers are in

Pan and numbers

flat colour,

such as Vogue, The London,

of others.

I must describe how to use the paint in this way.
First sketch
your subject in very carefully, not leaving any part of the design
unfinished it is almost impossible to arrange your colour imless this
;

is

done.

It is

a good plan to draw the design on the board or paper

the exact size you wish

it

to be, and then on a small card or cards

cut in proportion to the larger one, you can try several different

arrangements of colour and decide upon the one which
effective.

is

most

FASHION DRAWING AND DESIGN

158

Think

it

out before beginning, as

it is fatal

to alter a flat colour

you wish to paint a light figure against
a dark background, or dark against a light. Then again, you may
have a group of two or more figures these must be in strong contrast
First, consider

picture.

if

;

either against each other or the backgroimd.

DESCRIPTION OF FLAT COLOUR PAINTINGS
I will describe a showcard which proved very effective.
It
had two figures. One was in deep plum colour dress, light petticoat
and black hat this was dark against a light blue curtain and window.
The other figure had a white cap, yellow dress and white apron
this was silhouetted against a tree seen through the window and the
dark shadow under the window-sill, the purple and the yellow
harmonising, although with a marked difference between them.
Another was drawn in a circle with a half figure in the centre
in a light green dress and with red hair standing against a dark
blue curtain on the right a grey chest of drawers, and on the left
a red lacquer table on which was a green bowl of flowers (the red
table repeating the tone of the hair), and a scarf thrown over the back
;

;

;

of a chair, the stripes repeating all the colours in the design.

There was a very good one on the cover of one of the magazines.
There are two half-length

figures,

one with deep pettmia cloak

and brown fur, light jade green hat. This figure is bending forward.
The near figure coming in front of the dark one has a bright red
hat, white fur and pale yellow coat
this is shown up in strong
relief against the brown and purple.
The backgrotmd has a dark
;

blue grey sky with vivid orange streaks, black
sky,

and a foreground

figures.

I

wish

I

fir

trees against the

of snow, a few flakes falling

on the two

could show a reproduction of this cover design,

as words cannot convey edways the idea of colour contrast.

Miss Hawkesley,
style,

paints

delicate,

who has adopted

most beautiful

pictures,

this

somewhat Japanese

the principal lines very

drapery of wonderful colour, but generally very rich

and subdued.

METHOD
When you have tried the colours on small cards, begin to paint.
Wash over the face, neck and hands with vermillion and a little
ochre or, if preferred, a very light sepia tint. When this is dry.

red or
drawn
give the effect of hairs. a few outside lines should
be drawn. paint all these at the same time so that the tints may match
and not be lemon yellow in one place and cadmium in another.
A
brown and black
figure
on a
light
brown
. where the
you have yellow flowers in one comer
and yellow drapery somewhere
else.
Proceed now with the background in the same manner.
attract.
—
^vermillion.
These and what
show cards they
are particularly good on tinted paper. lines can be
brown or red
.
on to the paper. yellow and rose madder.
Do
. but
of paint
always better to have the exact quantity
it is
and the depth
of tone required.
if
in a darker
the hair is absolutely black. if
and a yellow lampshade
in the other
part carefully patched up. If the colour. as I find the paint does not dry
up or crack so quickly. is too light. and for
brilliance does not matter.
To
black. only enough to
an ordinary brush paint
if it
looks too bright or
show cards or posters
make
These the
Very
little
water
With
not mind
too dark it always dries lighter.
MATT COLOURS
me
to the subject of Matt colours. the eyes in blue or black. the aim is to
it
straight
the paint a
little liquid.
that
is.
If the colour does not dry smoothly the uneven places can be
touched up with the paint mixed with a little Chinese white and the
colour
is
scattered
.
and the
hair brown. the head with black hair against yellow
Chinese lanterns.
This brings
are
known
as Poster colours are most useful for
A few colours can be bought as
a trial
.
I should recommend the tubes.
cerulean and French blue.
should be used.FASHIONS IN COLOUR
167
outline the features with vermillion. the colours of the cloak and dress repeated in
the other accessories. These colours are ready mixed
with white and can be obtained at most art shops in tubes or jars.
—
The dress is next washed in to ensure the paint drying quite
you must mix enough on your palette to go over all of it at the
same time.
student would find sufficient as a beginning. a second wash
flat
can be put on.
A figure in deep blue cloak over a rose pink dress on a grey
paper looks very smart.
emerald green. when dry. the lips also should be painted
in pure red.

—
i
.
three colours superimposed (one over the other)
and so
colours. others enclosed in a circle
much
. This can easily be reproduced.
The student must not
carried
let
good drawing
forget that
away by
the fascination of colour
is essential. and it will
him from disappointment at the result of the reproduction
readily than
also save
where probably the printer has been obliged to minimise the colours
to meet the wishes of his client as to price.
a girl holding up a muff and clad in a sumptuous ermine stole. and this
very
to the finish of a sketch. shoes.
For a spring and sunmier one children and yoimg girls with
flowers and birds..
So
it is
my
make him
pupils are so
when they
are brought
fancy to the prosaic line and
wash
necessary to quite master wash and line
before attempting anything in colour. daffodils and butterfhes would be suitable. frequently have just a head
difference in the
way these heads are painted
.
in the picture
.
The
first trial
sketch
may
be entirely in black and white.
the whole of the red part in one printing and the black in a
second one.
more expensive. the student must have a knowledge of the
process of reproduction. elaborately worked up.
The showcard must impress upon the pubUc the desirability
of buying someone's silk. and what is
more to the point. with only the pattern on the
dress and the hat painted in red.
The more
These
then the red. blue over yellow gives
green. red over blue purple. such as those by
Harrison Fisher. but vignetted on a plain
ground.
I find
trying experiments that
back from
these flights of
they often
fail.
Catalogue and magazine covers. the kind of sketch
for a cover design entirely depends upon the purpose for which
For instance.
first of all
the parts which are
green and have a basis of yellow are printed over with yellow
the next printing. as I said at the beginning of
the subject. etc. and
may
be able to
if
sell his
the
design
if it had been painted more elaborately. of course the
can keep to two or three he
on. a Fur Catalogue would probably have
it is intended.
but there
is
a great
—some.
all
the blue tone
put
is
in.
this acts as a
frame and adds
Of course.. golf coats. is cheap to reproduce.
For a three-colour sketch the drawing
passes through several printings.
In colour work. lingerie.
artist
more
make
all
the tones
red over yellow gives orange.
FASHION DRAWING AND DESIGN
i68
paper with blue sea and sky can be made most
effective.

light
appears
reflecting
all
When an
to
viewed in
object
be white
it
means that
the rays of Ught. absorbing none. so far as the discernment
can detect.
objective
should be to produce the desired result by such methods as will
involve the most economical process of reproduction and printing.
In order to achieve this end
it
is
essential that the artist should
become somewhat acquainted with the principles and methods of
colour reproduction. at any rate so far as they affect his work.
is
absorbing
Therefore
.
so that the reflection from the object
is. which
to be red
it is reflecting.
really
the property
which appears to the human
an estabUshed fact that different
substances reflect and absorb rays of light in different ways.
all
whereas
a
substance
appearing
the colour of light except red.
Many artists complain bitterly about the bad reproduction of their drawings.
thought out
well
COLOUR AND THE REPRODUCTION^OF COLOUR
The use
that
provides
it
may tempt
Fashion drawing
of colour for
assume
to
unlimited
scope
the artist
but
.I
FASHIONS IN COLOUR
169
must alwajrs be remembered. It should be
and submitted in the rough to the client. If he
understands and adheres to these principles he is not only simplifying
the task of reproduction.
It
is
it will
serve
scientific principles of colour
upon which the photo-reproduction processes
Science
but
colour
is
are based.
all
it
is
should from the very commencement
artist
in
mind the process
to which the drawing
The main
be subjected in course of reproduction. but he may also expect more faithful
results.
This being the case with practically
important that the
of
any colour project bear
will
Fashion drawing. is rarely accorded in work
which is subservient to the economic requirements of commerce. the same as the light in which it is viewed. and
it
can be proved by means of the spectrum that natural light
contains aU the
a
natural
the object
white
is
known
colours. reflecting
of the eye
If
none.
Colour reproduction
is
a vast subject in
a useful purpose here to outline those
itself. however desirable.
the substance appears black it is absorbing all light.
of light
has proved that
and not
all
of the substance
eye to possess colour.
such
an opportunity.
when the
fault is largely their
own by
not conforming to the limitations of the process by which their
work
is
reproduced.

The first consideration
make the process capable
in
(a)
From
(6)
With coloured
colour reproduction
in
was to
:
a flat surfaced plate
same time bearing
at the
modem
of being printed
.
which certain shades were standardised.
printing inks
mind the
fact that each plate is
only capable of being inked with one colour at a time.
absorbs
all yeUow
transmits all red and blue rays of light. green and orange.
find a way by means of photography to
subject into as few " primary "• colours
the
separate the colours of
" primary " colours
as possible.
FASHION DRAWING AND DESIGN
170
the apparent colour of any object
which
It
is
produced by those rays of light
it reflects. which means that shadows are cast by the red and blue rays
*
"
These colours are not "primary colours from a purely scientific point
the latter are the seven colours of the rainbow or spectrum. but
rays.
By means of these colour filters it is found
possible to
" primaries.
upon
is
this
theory of colour that the photo-
scientific
is based.
. and by
was found possible to make the
coloured objects a practical and an economic
reproduction of coloured drawings or objects
working on these principles
reproduction of
it
process.
The violet filter
colour filters are violet.—
.
"
primary
" colours should be very closely
These standardised
for reproduction. red
and
blue. which is specially made
For the three-colour process the threeto be colour-sensitive. as the
method of ink distribution is by revolving rollers." These
separate coloured subjects into the three
" filters " are pieces of coloured glass interposed in the camera
between the subject and the negative. of
possible occasion he should endeavour to obtain his effects solely
by the use
of those standard colours or
by shades or
tints
which
can be produced by combinations of those colours.
of view
. but in such a way that when these
The next
step
was to
were super-imposed on paper by means of printing ink they would
combine to form a reproduction in colour of the subject photoThe " primary " colours found to be effective were
graphed. whereby it
follows that the whole surface of the plate
must
of necessity get
inked. and on every
draws
who
studied by the artist
yellow.

the violet
tones. that an artist unacquainted
may quite inadvertently
with the principles of colour reproduction
a drawing which would involve four.
It
may be easily understood.
without making two blue plates. but the yellow rays penetrate the filter.
if
carefully
produced.
.
so long as colours or tints foreign to the three " primaries " are
The introduction of black or grey to a colour
means that a " special " plate of the black
or grey portions has to be made.
violet.
the negative
whilst the orange
and yellow
filter
absorbs the blues and transmits the red
In other words.
three copper plates produced
blue plate. yellow not being one of the components which
form
the green filter picks
and blue combined
and the orange filter picks out the blue values.
These methods of colour separation by photography form the
common fundamental
principle of all the commercial photo-colour
. therefore. known as a set of three-colour
individually inked with the colour for which they
are specially made.FASHIONS IN COLOUR
179
on the negative."
which. then the former being
transparent where the yellow rays have penetrated allows the
In a similar manner the
sensitised copper plate to be exposed. five or even
more colour plates to reproduce it through introducing black.
be pointed out that the violet
all
the yellows seen as such. adding thereby
Tints which appear to be black or
grey can be obtained by the " three-colour " process. can.
when
:
In this
where
way
a yellow plate.
green filter absorbs the reds and transmits blues and yellows.
filter
picks out the
yellow values. but without
considerably to the expense.
"
grey or two or more contrasting shades of one of the " primary
produce
colours. of course.
blocks. and printed one over the other. thus making a " four-colour
not introduced. involves four printings. whereas two shades of the standard
blue would have just as well given the required effect. viz. give a fairly accurate reproduction of any colour subject. but
it
is
it
filter
"
not only " picks out
also picks out all yellow
a component part of some other colour.
the introduction of the special extra plate the result cannot be
guaranteed to be entirely satisfactory. a red plate
are
and a
These three plates.
It frequently
two
happens also that an artist quite unnecessarily uses
which cannot possibly be reproduced
entirely different blues. When
is printed on to copper plate.. red
out the red values
It should
.
drawing invariably
set.

These blocks
are printed by a flat-bed letterpress machine.
. Offset.
containing very fine lines running across each other in opposite
This screen inserted in the camera cuts the reproduction
directions. and to the fineness
and closeness of these dots.FASHION DRAWING AND DESIGN
l8o
processes. can be produced. is only suitable for printing on a paper
with a highly-finished surface.
principal
condition to remember in connection with this process is that only
" tones " produced by open line
solid mass or " flat " colour."
HALF-TONE SCREEN COLOUR BLOCKS
The
plates of these blocks are
made
of copper.
No
by wash methods can be introduced
into
are
the
principles
of
colour
separation
gradations of tone
process. chiefly on
the score that they combine both economy and reasonably faithful
the
first
reproduction. whether
by Zinco Line Colour
Blocks. This process.
This is achieved by the " Screen.
In other words they vary in diameter according to the tones of the
drawing. and where the requirements of
the subject can be met by the former process the artist should see
that his drawing
is
The
executed in a suitable manner.
two named being by far the most generally used. owing
to the hard. Chromo-Lithography or Colour Collotype.
according to whether that part of the drawing is light or very dark.
and are
distinct
inasmuch as they are suitable for such drawings as
possess various degrees of colour and tone as well as light and shade. absolutely touching where the tone is solid.
glass." which is a piece of optical glass
from
line plates.
this
same
as
in
The
the
" Half-Tone Colour Process.
of the drawing printed on to the copper plate into very fine dots
which are distinguishable in the printed copy under a magnifyingThese dots are fine and far apart. Rough surface papers give uneven
contact with half-tone blocks owing to the fine pressure and delicate
inking required. smooth face of the copper blocks. or
hatching or dot tinting.
ZINC LINE PLATES FOR COLOUR
WORK
" Zinc Line Plates " are considerably cheaper to make than
copper " Half -Tone " Screen Plates. or heavy and close together. Half -Tone Screen
Colour Blocks.

is
some-
times an advantage. a fault which.
is
meet the objection that the latter can only be
on a highly-finished paper." and transferred from the blanket to the paper.
operation.
too bold in
colour effect.FASHIONS IN COLOUR
i8i
OFF-SET
This process
a further development of half-tone printing. and on the off-set
machine it is designed to make an impression first on to a smooth
chiefly conceived to
satisfactorily printed
rubber " blanket.
y
it
does not.
more
of the
the whole reproduction.
work tends to be a
little
At present.
and
is
easy to understand
printing. do not
condemn it without intelligent analysis as to the cause of its defects. for large work.
The first proof is invariably pulled with inks of the standard
" primary " colours which.
good inks and high-class
these processes are subject to
all
results
colour
of
the copper plates.
these respects
perfect
etching
is
it
exceedingly difficult to attain. theoretically speaking. however.
off-set
colour
results. like posters.
by using tints which require
hand engraving. should give the
right result.
tion in one or
Ofttimes.
The pliable surface of the rubber conforms to any roughness of
Off-set
surface which the paper possesses and gives proper contact. not only are the chances of
accurate reproduction then rendered much more remote.
The
artist
must remember that
Accurate
certain limitations.
is still
in a
somewhat undeveloped
state.
If the first proof submitted by the engraver is defective.
although sufficient progress
has already been made to give surprisingly good
however. but the
If
the artist adds to these difficulties
special filters
and
special
cost of reproduction
is
accentuated considerably.
absolutely perfect
filters. but a
primary colours
little
varia-
will possibly correct
. To print these on
a rough paper a special half-tone block is made.
lighting
photographic
that perfection in
all
can only be achieved by
during reproduction.

Some
it is
it
possible a wonderful vista will be opened for
is
For many years now
the fashion artist and designer."
enterprising people of
—in Bond
say a salon
whom I
Street.
If
that
the future style
customer.
Trap-doors are open in the pavement.
heard took a room
—or
I should
and every day the model dresses were
"
I do not think these " mushroom
Of course if the directing head is a
but
designer that is a different matter.
I think this
is
a mistake.
brought over by aeroplane
businesses last very long. as
at the end of his training.
There is a movement to make London the fashion centre instead
to have a
flair for
of Paris.IX
FASHION DESIGN
I
HAVE
previously dealt with the technique of painting in relation
how
to fashions and explained
to show the different styles and
must now write about the way
to design dresses. Elspeth Phelps and others are English. some well-known designers.
. The need does not always come to the ordinary
fashion artist to originate a mode and some do not attempt it at all. Fore Street and other
parts of the City. colour. etc.
There
is
centre of Fashion. it will at once be evident that most of the waredress
in this
houses are connected with clothes.
Mr.
taken for granted.
In
fact.
fabrics in wash.
Captain Molyneux.
no reason at
It
is
all
why London
should not be the
said that the French are
more devoted to
and devote a great many of their energies and business talents
way.
. but of late years we have been much more
in the running. line. bales of goods are being
.
if
it
has been
a draper or dressmaker wishes to impress a
always the magic words " The latest from Paris.
On the other hand.
it
I
leaves the student not fully equipped
It is true that
it is
not given to everyone
was jormerly considered a
special gift of the French. and can originate and also grasp and adapt the more
advanced of the French fashions to the Englishwoman's taste. Reville. so we need not
despair. In a walk down Wood Street. it is quite
dangerous.

Dress.
by with
—a whirl
My Lady's
tion of the
number
Silk spinners.
was a
activities required for
revela-
one dress." since
of people
up
of hat boxes
parcels. lace makers. 122.—
.
weavers. vans and carriers' carts][are
and pyramids are being
apprentices hurrying
Fig. leather workers.
FASHION DESIGN
lowered
down
by the
kerb.
.
built
of business.
to basement storerooms. hosiers. fashion artists
Modern Dress showing Chinese
books and pencils
called "
183
and
A
with sketch
influence
play some years ago
shown on the
film.

the lonely trapper. when it gives occupation and
the
employment to such numbers
of people. shoemaker.
Modern Dress with Victorian influence
m il lin er. etc. artificial flower
195
makers. not to mention the designer. button and braid manufacturers. the dressmaker. glover. or the fashion makers.
Fig. 134. Surely fashions should not
be despised.
.—
FASHION DESIGN
milliners.

in fact
employed to convey the idea.
the trend of fashion and presenting
way. or crepe de chine and silk. gold
and
The design
is
then elaborated
any medium can be
Metallic powders and paints described
silver paint. and accordionpleated skirts Egyptian and thousands of years old. the long-waisted dress and the hanging sleeves might easily
have been copied from the Tudor period the skimpy tight dresses of
1914 were modified Merveilleuses. as the style you wish to design may require
a heavy velvet or cloth. ink.:
FASHION DRAWING AND DESIGN
196
HISTORICAL DRESS
new under the sun. Even the
Church has been called upon to contribute ideas. or come to a point over the
—in
hand.
The artist will see that the
ideas from
fashion designer
is
in-
124 and 134)
able to cull his
What is required is a certain gift of seeing
many sources.
water colour paper or boards.
seems absolutely true
.
if
the sleeves only reach the elbows. iridescent
beads and brocades which are the mode.
so in this there
a
is
unwise of the student not to
of design.
several colours. a description
.
books.
houses he
I certainly
may
notice
obtain hints which will be of great help to him.
shaped tunic or cloak. and sometimes there
is a distinct ecclesiastical touch in the hanging stoles or the Dalmatic
.
It is
both fascinating and
If the student can get in touch with some wholesale
profitable. the high or low neck
fact.
it in
an attractive and practical
These original designs are required
by the dressmaker and
the magazines. all
the htmdred and one
which are so important. but even these are divided into several classes
:
Court dressmakers.
in the chapter on Colour are used for the gold tissues.
if
the dress has a tendency to be long or short. and wholesale costumiers the magazines from the highly priced monthly or weekly
.
to the 3d
paper.
Designs for dressmakers can be made any size some drawn about
seven or eight inches on rather thin paper. 138. In fact. jumpers are Saxon. theatrical dressmakers. they are also drawn on
little details
.
and
give
some time to the study
He must
think
it is
.
There has also been an attempt at
troducing dresses of the Victorian Era
modern adaptation. Materials should be taken
into consideration. and also the daily Press
wide
field.
certainly.
(see Figs. and this
when we are looking through old
It is said there is nothing
Fig.

and the massing
and grouping of colours to be seen in brilliant stmlight is a good
test of the artist's power in colour design. and the work he or she does
be of immense use in the future. he feels that
will
every possible style has already been used. the lighting must be taken into consideration. or any fabric which
silver tissue
lace.
Designing for a Court dressmaker
an ordinary one. but gradually an idea
comes to hjm which he tentatively
tries. but it can be cvdtivated.
There are many opportunities nowadays in local towns and suburbs for practising
effect
theatrical designing. chiffon.
An
carefully
drawn
.
elaborated. just sufficient
convey the whole
is
This colouring
is
not
washed on to indicate the scheme and
effect to the customer.
and the artist should have the power of seeing in his mind the
a dress will have on a stage or in the open-air.
As I have said. and these
must be carefully followed and any style which is taboo avoided.
COURT DRESS
is more intricate than for
must be thoroughly conversant with
the rules and regulations in relation to Court dress.
all
these
The length
of the
requirements
hamper the designer and need much study
and
of Court
etiquette. it
seems to look well and
. as the
artist
Very beautiful materials are used
of
for these Court dresses. and very frequently
Detail and material can be
the drawing
is
not carried any further.
on this foundation build up the dress or costume.
THEATRICAL DRESSES
To
dress a play or pageant requires
much
historical research. satin. designing is quite a gift.
shown in the pencil. but designing
for a pageant is a different matter (see Fig. If it is for
a play.
skirt. 135). but in other cases the dress
should be very lightly inked in and tinted. the train
embroidered with diamante and pearls or real
The dress also of brocade.
will
drape weU and lend
train. the
restrictions
shortness
itself
the
of
to decoration. as
a clever designer
is
most of the costumes are home made and
soon discovered.
At first when the artist is asked to design a dress.FASHION DESIGN
197
wedding to-day reads very much
like those of the
attractive figure is sketched in with the face
and hands quite
of a fashionable
Renaissance.

135.
— Fancy Dress
.Fig.

199
o
a:
Q
Z
a
o
J
<
o
g
o
»
in
Z
o
55
Q
.

.

.

.

Grecian Female from a
became
easier to go
cannot give an
fictile
vase
on contriving and thinking
infallible guide to dress designing.
if
it
is for
a restaurant gown almost any
graceful thin material is permissible.
in collars or crochet edging.
same when I had to design some sports coats
I had been sketching about one hundred. 140. for instance.
one different.
after the first one it
it
out. One very important point is the suitability of the
design.
I
can only suggest recipes for a few points which the artist should
make a note of.
I
Dress.—
FASHION DESIGN
he begins to develop
it
until
203
he has evolved quite an original dress. every
and it seemed impossible to think of a new shape
I felt exactly the
and
jimipers. but
Fig. or in the combination of colours.
Q
and velvet trimmed with
.

the smaller magazines catering
home dressmaker
require a simpler style altogether
and
cheaper materials must be suggested for carrying out the design. georgette. but
if
Fig.
jumpers and sports
are eagerly sought
and new
by the manu-
coats.
There
is still
stitches
a wide
field for
and new shapes.
is for
— Grecian
silk.
or V.
A
.
not be so elaborate. would work up
The neck may be a little low.
a sleeveless
house dress must
a society paper or West
Dress
marocain.
for the
even
if
they are short
not good form for restaurant wear.
it
can be of
is in fashion. or georgette
into a smart dress.
etc.
facturers.
. but
gown
is
it
must have
sleeves.
On
the design
141.. or whatever fabric
the other hand.
End
firm. cut into a round
fur in winter.FASHION DRAWING AND DESIGN
204
and lace in summer.

The figure on the right is from a painting by Miss Pierpoint.
We can imagine
Becky Sharp wearing it
We have again three
as in Fig.
be embroidery.
characteristic dresses
The one on the
left is.
and although
There are also
Before submitting any sketches to an
must study the
published. This design proving very
a fashion artist to design a dress showing
advantage.
it
will
wool. tinsel
and various
other materials. he will notice
If
that one year the dresses will be designed to show off lace in every
colour and every kind. the
most elegant
. I
much
the same time
think.
more
requires the
client
who
is
unfortunately stout a dress with lines going round the figure. 128.
MAGAZINE DESIGNING
There
is
more to be done
zines.
one occasion a wholesale dealer in trimmings asked
some new lace to the best
This was done by introducing panels of lace.
the dressmaker will guide the
artist. This
might be adapted for a muslin or tub frock.. and must remember that
editor.FASHION DESIGN
205
DESIGNING FOR TRIMMINGS
Materials and trimmings play a large part in deciding the style
of
a
On
dress. and
silk. 12 g.
The figure on the left is of a simple girlish dress with
becoming high waist and two ruches or frills on the skirt. the artist
style of those designs already
his designs
must not only equal
the printed ones.
This
usually
is
The dressmaker knows her clients.
to the dress of the moment. or a
heavy brocade to a young girl but this is comparatively easy. 129). others come to stay.
Fig.
the future fashion designer will think of these. but an elaborate ball dress. as
.
The
illustrations given in this chapter
on Design are so
useful. that they seem to call for a separate description. but go one better. and not to offer a
individual. etc.
even that
is
Another year
subdivided into
raffia.
the same period. and
tailored costumes.
{see Fig.
New
the
of
life
in designing for
newspapers and maga-
periodicals are constantly being started.
I referred to
designing for dressmakers.
some
is
very short.
as well as charming.
the old-estabUshed ones.
adapting
it
satisfactory. he next
from these he
biult
gave the
artist
up some smart
some braid and buttons. and
design to suit some characteristic.

Figs. designed by Captain Molyneux.
and
Rare Chinese dresses and
137. but
when he
finds
. 140 and 141 are good examples.
I
have
very
the
and
new
very
upon these and told the designer how he must watch the
:
changing
styles. with its billowing skirts.
and
vogue
(see Fig. the quaint and fine backgroimd are worth a close
study. 127).
most
in colour
the rich blues.
The opening of Tutankahmen's tomb had a great
Egyptian. the cloak
and hat. the richness
131. 142.
CHINESE EMBROIDERIES
{See Figs
132 and 133)
Perhaps we are too near the Victorian era to appreciate the
crinoline fashion.
the
There are two sources from which to draw inspirations
some
remarks
made
already
old.
These are very beautiful designs.
as variable as
the wind.
influence on fashion.
A bride's dress.
It
was a passing phase and.
The shawl
Fig. sleeveless coats
rich embroideries are
all
culled from this nation. 126). and the lotus. is
Fig. the long tunics. fascinating bonnets and
wreaths of roses.
figure is also very simple
that would give ideas for a design
The design
many
of the cloak in the third figure has been in
times since this plate was published
Figs. rose colour and gold are wonderful for
harmony
in the dresses
of colour.
the loom and the group of three
will give
and
The lady
at
a good idea of ancient
China.
The
clinging drapery of the
we
see this very
Empire period shows
this
tendency. all form a fashion plate that the modem school would
of
do well to copy
The centre
(see Fig. brooches and headdresses.
worn
There
is
a strong Chinese influence shown
this year. 130
and has several points
{see Fig. 125).
Greek figures and designs have always been used by dress
designers for inspiration. 123. and from time to time
plainly. scarab and other symbols
were woven into materials made as chains. Figs.
is
Chinese in origin. 136
beautiful
their
.FASHION DRAWING AND DESIGN
ao6
any of those given. the one reminiscent of a painted missal. but when it is seen on the stage it is very quaint
and pretty. The graceful pose of the figure.
of the dress. is quickly gone.
like others.

fine needlework
and numbers of attractive costumes evolved from these examples.
design had just been copied
by an
told
artist to
me
the
embroidery
adapt for a wallpaper.
.FASHION DRAWING AND DESIGN
2o8
it
veering in certain directions he must have
know where
reference or
by him books of
The Lady's
to look at bygone fashions.
In the
(Department of Engraving.
Kensington. the attendant. At
historical costume
the Print Room of the Victoria and Albert Museum.
When
is
a fine collection of
We
Uttle think where
was looking at the
we admire come from. South
. a Georgian dress of rich
the designs
I
dresses
silk
most
exquisitely
embroidered.
ages. there
is
a splendid collection of dresses of
and permission to draw any
Print
Room
all
of these is easily obtained.
So ideas may be gathered for draping material. Illustration and Design)
of the Victoria
and Albert Museum there
fashion plates and costume illustrations.
on one occasion at South Kensington. while
replacing a most beautiful specimen.
.
Companions of 1815 to 1830-40 are very useful
also a book of
the one by Dion Calthorp is very good.

river.
but the background spoils the effect. {See Fig.
the
reception. With some artists this is quite a gift. golf.
their quality
and shape.
and a background with shooting.
Furs. and
at the opera. fishing. hockey. and the background must be
subordinate to the figures. three on a page and each page with a
different background. and as there were about thirty pages I
had to sketch railway station.
{See Fig. the artist must remember she is a fashion
artist and not a landscape painter.)
Academy private view
or
some afternoon
A figure in evening dress is comparatively
easy to place. motoring or shopping
. A client asked
me to group some figures. 143. in
. but not essentially an evening
once suggests a restaurant with tea tables and perhaps
an
interior.
For country wear a tweed coat and skirt are the most correct. as the Fashion Artist
is
often asked to paint the figure in suitable surroundings. It requires
some ingenuity to think of variety and suitability. 145.
the figures
must be arranged by
may appear skating.
Above all things. again. garden
parties.
any place. sometimes by being out of
place and sometimes by bad drawing.X
BACKGROUNDS
It
is
necessary to study backgrounds. a few palms and a polished
floor will give the desired effect. but to choose scenes
appropriate to the dresses. etc.
CHOOSING A BACKGROUND
If the
gown
dress. and not only to plan these out. it at
flowers. and hanging lamps. fishing or any sport according
to the cut and shape of the costume.
others find it most difficult. The figure and dress are quite good.. only taking care that your cheap coney coat
is not worn at a reception and the 500-guinea ermine or sable is
not drawn on a figure skating or on a country walk.)
in fact. or
is
very elaborate.

but
there are other considerations to take into account in commercial
carrjring out the colour
art.
Or another instmction to the student was to draw two
lines from the four comers. are most realistic. but also composition. 150. Japanese umbrellas.
{See Fig. This
kind of decoration
calls for
some
eccentric. toys.
and ideas. boats.
arresting.
of the sketches of Mr.FASHION DRAWING AND DESIGN
210
Miss Hoare. 147.
and
is
apt to show the weakness
the decorative style
and draws the attention
girl in sports
well done
it is
most
at once. Fred Pegram's delightful advertisement sketches
in the newspapers.
Not only must the surroundings be chosen with care. as they are
dresses. the client does
not wish to pay for a meandering river or grove of trees. the realistic and the
artist
decorative. 144). 146. also of Miss Hocknell's children with the cats.
much
a square inch.)
In
contrast to this.
I
Tom
would advise the student to study some
Purvis and others. and one
looks forward to seeing the latest catalogues. tub frocks.
pillow fighting. especially in the fur sketches. but the warning I gave
about mixing methods holds good quite as
groimds as in the figures. rushes and trees
make an attractive picture. as
we used
to say
.
The other
style is
of composition.)
The block costs so
to advertise a dress. crossing in the middle of the picture the
figures were then drawn in to occupy the centre. bizarre robe or fancy
dress.
is
most ingenious
with her backgrounds. in Messrs.)
A
is
much in sketching back-
coat sketched in a natural
maimer does not look
well with a background of trees blocked in (Fig. but the
must decide the method. and
if it is
{See Fig. (See Fig. etc. the rest of the picture filled in with minor accessories or
scenes.
Mr.
They can be roughly divided into two.
Not only must the
and harmony of backgrounds be
The old rule was to draw a line
diagonally across a picture from comer to comer.
If
more
difficult. the chief figures
or interesting object was placed in the space to the right or left of
this line.
.
and that is tmnecessary space. the rest of the space
suitability
considered. conventional
flowers formed of dotted lines and fountains with nymphs. wondering what
new ideas she will
have.
now
called.
These two or three rules are quite good for a general guide.. or
for these the sea or river
washing
form very
good backgrounds. however
. Bradley's catalogues.

.

143.
Evening Dress with suitable Background.
.212
Fig.

.

.214
Fig. 144.
Background suitable for Country or Sports Dress.

.

.
A
K.\ce Scene in Oils. by
Tom
Purvis.\mple of Grouping. 145. 146. good ex.2l6
Fig.
Fig.
An Excellent Pose with Effective Background for Light Dresses.

. 147.Fig.
Autumn Background.

.

319
Fig.
.
Background Sketch by Tom Purvis. 148.

.

Good
sketch with light background of leaves
. 149.—
Fig.

FASHION DRAWING AND DESIGN

222

A glance through a good catalogue will show how in

well painted.

a

few lines distance can be suggested without taking up much space.
Colour blocks are especially expensive, and again the question of
space must be considered.

While

Fig. 150.

figures

I

am

speaking of economy of space, when a crowd of

— Figures

enclosed in circle with chair, chandelier
arm and hand holding tray

must be got

and

butler's

into a rather small space I should suggest a

platform or steps on which the figures can be posed at different
heights, not only enabling the artist to
figures than

if

they were on

always presents a

show many more

a level, but also to

fill

full

in the sky,

difficulty, the artist wishing to leave

length

which

a nice open

BACKGROUNDS

223

space to show up the figures and the client to advertise as

many

things as he can have crowded on the same page without quite
spoiling the effect.
{See Fig. 149.) Where the figures are painted singly, the advertisement manager arranges the paper for the printer in what is known

as a lay-out, but

if

must study

To

requires
fit

it.

much

this

practice

in to a fraction of

To

arrangement of things

is left

to the artist he

display everything to the best advantage

and brain-racking

calculations, as

it

it

must

an inch.

paint backgrounds successfully the student

working knowledge of simple perspective.

It is

must have

not at

all

a

imusual to

see the floor going uphill, a chair which

glaring faults which

would not stand, or other
show at once that the student has little or no

knowledge of perspective.
It is

not necessary to study the subject deeply, but I shotild

certainly advise the fashion artist to learn the principles of the centre
of vision, the vanishing points, point of sight, etc.

A very good exercise is a street of houses receding in the distance,
which can be studied by most people very easily, and also another
exercise would be to draw a tesselated pavement in lozenge squares

and white. The latter is most useful and most effective.
With just a few of these rules it should be easy to place the f igtires

of black

in suitable surroundings.

XI

FASHIONS IN HAIRDRESSING
There

is one branch of fashion drawing which is very profitable
and not much noticed. In fact, I have not seen it mentioned in
any advertisement of correspondence lessons or in any manual of
instruction.
It is that of drawing models of hairdressing for the

different firms;

these drawings are generally published in the

magazines.
In this

essential

it is

sketch a pretty face

;

even more than in the millinery drawings to

the hair must show the very latest

mode

in

hairdressing. (See Fig. 151.) It is not an easy task, as great exactitude
is

demanded, and every wave must be shown.

MEDIUM
Chalk or pencil seem the best medium to employ in drawing

They
ance

either of
;

them lend themselves

hair.

to giving a soft, fluffy appear-

nothing destroys the effect of hair more than a hard wiry

treatment.

(See

Fig.

152.)

Wash

is

also

effective,

and

line

drawing.

On many

drawings for the West End
name of Stanley Davies will be noticed. This artist
seems to have made a speciality of pretty heads, some in colour, but
very often in chalk and wash. They are artistic and give a faithful
of the advertisement

coiffeur the

idea of la mode without being at

Nearly

all of this

give a good price

if

all stiff.

kind of work

is

the sketch

well carried out.

is

done directly

for the shops,

who

same way as he
would furs or other fabrics.
I mention fur, as a good fur artist
should make a good hair artist the methods are similar.

The

artist

must

practise painting hair in the

;

22.i

.

a
o

M W

is
the paint should be dragged over the light parts
Fig.
is
liquid. all the
are in
wash
darks put
for these the paint
and high lights
wet. but before it
in first
This should be done when the board
quite dry
.
153).
(see Fig.
IN LINE
A
few advertisements are in line
I think.
line
The
face highly finished to
correspond.
in the direction of the
— Head in
waves or
and finished up by painting
coils
in hairs with a very fine brush.
but in some of the fashion magazines
. 153.FASHIONS IN HAIRDRESSING
227
HAIR IN WASH
Some advertisement drawings
must be used very
left.
but are not.
qmte so
successful
.

little
shadow except the
The
faces
which are carefully
eyes.
drawn.
blacked in or very dark and cloudy. the
cases the whole
shading of the face
THE POSE OF THE HEAD
{See Fig.
meant
The
whole of the face and hair should be sketched and shaded in
first.
Conte crayon.
It
required the face
is
drawn
may
be necessary
but the shoulders
be three-quarters with the head turned round.
begun and finished in
and the hair.
PENCIL
The same method can be employed
in pencil drawings of hair. and various means are used to give different views
of the
you
same
The most
style.
and after that is finished to the artist's satisfaction a broad
wash can be put on.
a wave or
continuing
thick in the shadows and thinning off on the top of
coil. is a mirror in
ideas.USTRATIONS
If
the hair
is
intended to be
light.
The pose
of the
head must be studied. but there are other ingenious
Or
if
in profile with the neck
may
a side view
and shoulder
back view.
it.
is
which
see the back of the head reflected.
to show the style of hair almost
full face.FASHION DRAWING AND DESIGN
228
devoted entirely to hairdressing the sketches are very clear and
The heads are large and the hair drawn in firm.
drawing
is
In
many
pencil.
in
a
the whole background
Some
of the
is
heads are also
frame ornamented with ribbons or
.
CHALK AND WASH
Chalk
is
By
more used than the other methods.
IU. of course. 154)
In sketching for hairdressing the position of the head
very
is
important.
these are very artistic and delicate. distinct
effective.
made
lines.
usual.
chalk
is
Several degrees of fineness should be bought. and the deep shadows in the curves of the hair
and the eyes can be much improved. and no wash used.
shown as miniatures
flowers.
have very
or even leaving a
space in the line and then
little
these breaks indicating the high lights.

It
figiire
spoilt. some specimens should be painted
these various
by which the
up-to-date fashion
is
artist
.
It is almost a separate art from fashion drawing but there are
quite a
number who take
it
in with their other work.
It requires
but it
some patience to get into the best methods
is quite worth while as it will enable the artist to draw a figure
of hairdressing.—
FASHIONS IN HAIRDRESSING
The
principal
West End
229
coiffeurs issue a brochure nearly every
season and also have advertisements in the best ladies' magazines.
Fig. 154.
When
selected
methods have been tried and the one
can get the best results and the most
noted.
Hair in Line
in evening dress with the hair properly painted for the occasion.
It is not
unusual to see a
the dress but the head quite
the prevailing mode.
beautifully painted as regards
the artist not having studied
makes a great
difference to the smartness
of a figure.

. especially those published by large
shops or stores which have a hairdressing department.
more confidence or practice
If
is
needed.
a few fashion artists take
up
this
branch of their
art. Many of
pages devoted to hairdressing.
The
illustrations in the
from some particular
magazines are generally advertisements
would be
firm. as some hairdressers make a
speciality of period fashions for theatricals and fancy dress balls
and pageants.
The
Icx^al
hairdresser. so the artist in that case
employed by the hairdresser and not the paper. every year. Some knowledge
of historical headdresses is an asset.
be able to get a post as assistant to one who has
plenty of orders.
probably be fairly easy to get in. I think.
many
Weldons
fashion papers dealing exclusively with
and as only
it would
have
catalogues
the
issue one.FASHION DRAWING AND DESIGN
230
and the
shown the
hairdressers
sketches. the instructions must be carried
who seldom
advertises.
FASHION PAPERS
There are not
hairdressing. and this makes the initial step much more
pleasant. will perhaps give
out to please the
the artist
may
client.
Some
valuable experience
help
may be
is
frequently needed. and in that
way
gained.
an introduction to his more
distinguished confreres. If an order is obtained.

155.
I
do not see
why
also
is
this should be.
this is essen-
work.
who
naturally charge accordingly.
few pages of a catalogue are generally given over to a
miscellaneous collection of things which. and so one page is as valuable as another to the
figure pages are given to experienced artists. and only a
.
The
sketches to their assistants. however different. and they in turn give over the
odd
printer.
times the artist
is
given
thfe
we
Some-
task of planning the lay-out. as these large catalogues
are contracted for. and in a studio would be given to beginners. but
it
generally falls to the lot of the advertising manager. and
see these often despised pages quite charmingly arranged. must
be shown to the best advantage.)
I
MUST say a word about the painting
tially catalogue
The
last
of accessories
.P*g-
'
55
—
-^ ccessories
XII
ACCESSORIES
(See Fig.
As
it
is
not considered as
important as the figure pages. the quality of the painting
inferior.
In the best catalogues attention
is
given to accessories.

as whole catalogues of shoes are sent out by the numerous
shoemakers with an attractive cover design in colour.
The best way to learn is to paint from the real shoes these
placed in different positions.
. the style
more variety and
detail than in
gloves. some single.
GLOVES AND SHOES
Fig.
Shoes are not given to a beginner to paint. as the
is
gloves are not treated separately but on the hands. 156. fabric.
Fig. as the stitching must
be most neatly painted. a knowledge
gloves and shoes.
The
practice the student has
in depicting the variety of fabrics will here be
most
had
useful. and the
hands are drawn grasping the wheel of a motor car for thick. and shoes
and boots illustrated in every possible position. side.
All varieties
must be
tried. and there is much
are very tricky. etc. as if they were walking.—
FASHION DRAWING AND DESIGN
«3a
guide
is
given to the
artist. or silk shown to advantage.
. front view. or
There
holding a whip for driving gloves. as they
is always changing.
To be
able to paint
shoes will give the fashion artist another chance of adding to his
income.
Sketch of Gloves
is even scope for original ideas in this arrangement.
The most difficult accessories to the student will be
To make the gloves seem natural.
of hands in different positions
absolutely necessary.
SHOES
Fig. which are
drawn
to call attention to
some
special shape or stitching. 159. and kid. the brogue.
The
experience gained in patiently devoting time to detail will give
the artist confidence in dealing with gloves. back view. some
on both feet. 156. or with a fan for evening ones.
such as the evening shoe.

The
welt is generally a plaia colour.
it
will
be found most useful in costume
painting. but the lines must indicate knitting. and with the exact pattern. in pencil.
ribbons or feathers.
and all the diamonds and squares to fit in over the instep.)
ORNAMENTS
Illustrations
Some
to
of the
bandeaux
most charming pages of accessories are those devoted
which there is infinite number.
It is generally better to
and very pretty heads
in
show these
in use.—
ACCESSORIES
boots. 157. walking shoes for the
the artist
is
town and
233
for the country. others of gold leaves.
ing must be
(Su
Fig.
It
in
a catalogue.
STOCKINGS
seems natural for shoes and stockings to follow each other
These are not quite so difficult as gloves and
Here again is much scope for
shoes.
ribbed. especially with the fancy stockings used with
These stockings are checked and
sports coats and dresses.
and ingenuity. of
in the Russian headdress style.
becoming ornaments find place
the miscellaneous pages of a catalogue it is amongst these that
in these
. The shape of the stockdrawn out first. flowers. some
for the hair. fruit.
Even
if
never asked to sketch shoes for advertisement after
the experience gained. at the same time not easy.
detail
^H-
'5 7-
Stockings
woven in diamonds and stripes.
.

I<USTRATIONS
Umbrellas and sunshades claim some attention.
The
artist
must see that the handle
Fig. 158.
in the centre
and the
If either is partly open. transformations.
if
the shop
has a hairdressing department.
curves.
Il. or
concave and convex
. curls.
is
absolutely
Waistcoats
ribs radiating
from
it
at regular intervals. are also illustrated. and a few rules
must be
followed.
the ribs must be drawn curving over on the
and curving inwards on the
inside.—
FASHION DRAWING AND DESIGN
234
toupees.
outside.

Fig.
Examples of Shoes
in
Wash and one
pair in Line.
. 159.

I
.

the mesh or pattern
jabots. but no elaborate ornament or shape will hide
the bad drawing. fichus or scarves. 158.)
on wash and patterns
in the chapter
the fashion artist
it
if
is
Veils are sometimes
very new and
is
made up
into
again called upon to
shown separately if
and
startling.
of lace are
60.
LACE
another item which need not be dwelt upon as the different
Lace is
methods are already described
Fig. also waistcoats
.
1
is
{See Fig.
Accessories
sometimes photographed. but
collars.—
ACCESSORIES
337
If the framework is drawn on these lines any eccentricity of fashion
can easily be added.
paint and arrange them.

dolls'-houses. but often
the simple.
baskets.
line
work.
and a special bazaar catalogue
then finds he or she
is
is
required to paint teddy-
bears. and.
pin-cushions. which inspiration
transmute into a thing of beauty. aeroplanes
and motor
studio.
The
artist
who
must study his
and practises the technique
he must remember that it is not alwa3^
specialises in dress designing
subject in the same
way
of drawing.
cars
. bags
accessories (see Fig. miscellaneous articles
and include any small things suitable
stationery. so
it
finds a
place in the fashion artist's training.
For the Christmas catalogue.
be able to do everything required. although the chief sketches would be
done by the
may
that they
a lot would remain to be supervised
artist.
who take a
It is also to help those
assistants.
Children are especially catered
issued. mechanical toys of all descriptions. and are done in a large
but even in this apparently
skill is required.
for
such as lamp-shades. and. the commonplace. i6o). above
as he studies
all.
these are generally in line.
will
.
if
given to
post in a big studio. afternoon teacloths as well as
fans.
presents.
the rare and bizarre which will give him brilliant ideas.
etc.
The
artist
for.
ribbons.
there are too
of all kinds are included.FASHION DRAWING AND DESIGN
238
Illustration
I
am
dealing with these as the fashion artist
may have
a whole
catalogue to illustrate. rolls of materials. the homely.
are multiplied for the occasion.
MISCELLANEOUS
Much more need not be written about
many to ennumerate.
trivial
and very neat and exact
and rather tedious work.

to getting into a fashion studio. shorthand. a few of these
take begirmers.
training.
first
question
:
in a studio is
I will
take the last question
:
How
long the training should
Given a certain talent and some general art training. They must not
be
?
. etc. languages. and imtil lately was much better paid than teaching. but that is quite at the top of the
ladder. where there is always room. one always hears of fashion artists with a thousand
a year or more (see Fig.XIII
FASHION DRAWING AS A CAREER
It becomes more necessary every year for the daughters and
men
and earn a living. My concern in this book is with fashion drawing as a
sons of professional
to go out into the world
career.
{See Fig.
unless
to be always in a subordinate position.
the student
. and
long the training will take
if
?
All these are difficult questions to answer. but generally require one
who
is
able to turn out
.
I
it is
am
often consulted about
and asked
it
easy to get into a studio and
how
if it
pays well.
Of course. as
some seem
to think
. 161).
despair
if
student
who
line
the
is
first
attempts are crude and hopeless looking
and develop quite
time given to practising in between the lessons. Much also depends upon the
a failure at
—that
seriously
is.
and every year there are fresh professions and businesses open to
them. the
student can train in a year
some are much quicker than others
and soon show if they will make anything of it. 171.
it
is satisfied
With regard
It is
a
not an easy
must be studied as
as music. medicine.
wash drawing may make good with
a talent. I should say it
certainly pays.)
The
Does it pay ? If the post of fashion artist
compared with a secretarial one. but I will endeavour
to take each question and explain the position of a fashion artist.

—
Fig. i6i.
Newspaper Sketch by Miss Bessie Ascough
.

an introduction will not get
position.
There
it
essential
is
for the student
she will see a great variety of
her
own and
see
how much
work and
to earn
be able to compare
will
she excels and
how much
she
falls
The studios are able to take large orders.
and by distributing the sketches amongst their workers to put the
order through very quickly.
head of the studio. and. the fascination of seeing the
coloured posters in the process of being designed and painted.
(See Fig. some more talented to making the preliminary sketches. unless some special talent
the artist
is
noticed. but
if
the
required.
This is all good practice for a time.
STUDIO
Where
I think
I
money
at once
should recommend a fashion studio as a beginning. As in the fashion studio.
COMMERCIAL STUDIOS
(See Fig. this does not give much
scope for originality or individuality you are part of a machine.
again.
If
remains some time in a studio. but should
not be prolonged.
short of the other artists.
the drawing will gradually become mechanical. Of course.
and the admiration shown for some novel and ingenious idea in
an advertising scheme may lead the young artist to try too many
kinds of art and too many methods.
The danger
other too set and mechanical. 169.
some studios anyone who is good at faces is given faces
to sketch all day and every day.FASHION DRAWING AS A CAREER
Introductions are of very
good work at once. in the
.
in one is too
much
variety.
artists to see the
they will enable
sketches are not what
them a
is
little
241
use
perhaps
. 168)
Some
that
is. Others are kept to detail.
studios
often
have a department devoted
two fashion artists attached to their
much more variety of work and more experience
to fashion drawing or one or
staff.
.
There
is
can be gained than in a studio exclusively devoted to fashions. so after a time
it
would be better
for her to
become a
free lance.)
On
the other hand.
what is known as Commercial Studios.
a short term of work in a commercial studio is good.
work they undertake is closely connected with
of the studios are
the
advertising
these
. and the discipline and necessity
and
in
of working to time will help the student in the future.

(See Fig. 162. your work must either show originality or great
.
First. they are quite
easy to
approach and are generally kind and helpful. he or she can call on some printing
As
firms in the city and ask for the manager.
skill in
The
is
the usual technique.
free lance artist
for free lance artists.
probably a good
do not
offer
may
it
In that case. always study one of their catalogues
and
which department
see
is
given the most importance. 165.)
magazine designing. one wash
ordinary dresses.
they know exactiy what they want. but the
drawing of
artist's best
.
advertising managers are very courteous. (Figs.
these managers
are always looking out for originahty. you can approach the advertising
As in the case of
manager with confidence. as it generally means waiting
some time before getting known.
or whichever
Armed with
method the
artist
make
wishes to
these
all
his speciality.
many. and the artist
well received
. such as
any of these sketches the firm has
and only wishes for novelty.
moment
complete the
it is
first
well to call
.
children's clothes. 162-164.
good specimens must be prepared. one
of course. but other
have men who arrange
cases the sketching
men
is
all
the advertising
given out to a large
a more individual touch and the free
like
lance artist has a chance.
artist already
your sketches would not reach the standard.
colour drawing and one decorative suitable for showcard.
some
in
studio. and
if
the
sketches submitted meet these requirements.
It
sometimes happens that they have
wish to change.
be a branch in which you do not excel.
efficient artists
and do not
artist calls at the psychological
Even
if
the staff
artist sees the advertising
is
manager.
ADVERTISING MANAGERS
Most
of the big shops
for the firm
. or the
and
just
time the
fills
a vacancy.FASHION DRAWING AND DESIGN
242
FREE LANCE
A
must have a great deal of patience
and a little money to fall back upon. whereas in another
branch you may be able to turn out much better work than you
have seen in the catalogue if so. There are numbers of openings
Fig. one fur in line and one in wash. not too
work
one line drawing. an order will follow.
the specimens. and
.)
Before caUing at the shops.

Example
of
magatin* illustration
243
.
Study of vth*t in
line.—
FASHION DRAWING AS A CAREER
Fig. 163.

Fig
163^— Illustration
of strong lines for
newspaper work
.

164.—
Fig.
Sketch by Erti
.

This time lasts until the second week in
March there is then an interval and very little work to be obtained
from the retail shops. there is always a certain amount
for newspaper advertisements. C. to a furrier's paintings of
I
have referred
briefly to
the advice to the student that
it is
necessary to study the sketches
Some
in the papers before submitting specimens. In this chapter on careers. as they see so
many
that
it is
easy to be forgotten. which they give to their own
district
should be
shops visited each day.
If
the artist
is
sent to sketch at a shop or wholesale warehouse.
170).
Throughout the book are given examples by well-known artists. Miss Olive
Hewerdine
(see Fig.
so
much has
to be
into the short time between the return of the buyers
from the wholesale houses and Paris and the date on which the
complete catalogue is published.
most sumptuous furs.
If
the artist
interviews the advertising managers in between these seasons.
.
Some
of studying the special
are
entirely
devoted
to
In that case.
must again emphasise the necessity
I
of
style
the
different
shops.
may
he
be overlooked when the rush sets
crammed
in.
editor
In the newspapers. 167)
detail written at the side.
AUTUMN
The
third
week
winter season.
and their success is very encouraging. a
careful pencil sketch
of the material
and
must be made
(see Fig. the sketches offered must be
children's clothes. Roller (see Fig.
on glazed paper and the
a free hand. Of course.
This
is
in July is the time to call for the
autumn and
This lasts until the middle or end of September.
magazine designing and must repeat
children. 171).
A
mapped out if it is a large town.
the time the fur artist obtains the most work.
All
are printed
more or less
more rapid and
gives the artist
these
points
is
must be taken
into
consideration.FASHION DRAWING AND DESIGN
246
again after two or three months.
artist.
166).
and the description
trimmed with
If it is
. or a few
The best time to go is about the second
or third week in January.
and others are
given. the process
the fashion ephemeral.
examples of work by Mr. Miss Hoare (see
Fig. before the work has been given out for
the spring season.

Roller
257
.
Example
of
Tweed.—
FASHION DRAWING AS A CAREER
Fig. by C. 171.

also the advertisement columns in the daily papers should
be studied and any advertisement answered at once.
If the printer gives an order.
always appeals to business people. even a small one.
side
much
stitches or the
OTHER OPENINGS FOR THE FREE LANCE
autumn seasons
In between the spring and
there are numbers of
by the wholesale houses and for the overseas
Buyers come over. except the very
big ones. a very good start has been made. as the smaller ones get the printer to do all the art work
for
them
.
which have been selected to be sketched before they are shipped.
who
is
generally someone
who
is in
will willingly look at the speci-
unlike the applicant for an art teacher's
post. neither the printer nor the advertising manager asks what
examinations the
What they
artist
has passed or what certificates he holds. so to obtain this work it is necessary to call
as they do not select their
printer
to
upon
.
must take only their best specimens.FASHION DRAWING AND DESIGN
258
lace or embroidery the pattern
larger to
show the exact
must be sketched at one
mesh of the lace.
For the in-between seasons. but give the contract to the
who is bringing out the catalogue he in turn employs artists
make the sketches.
A list of these firms and
of art agents can be found in the
London
Directory.
the catalogues being sent out as soon as completed.
in this
way. September and very early
January are the best times to call.
As a
rule it is
no use
calling at the wholesale houses.
PRINTERS
'
See Fig. 167. taking the specimens previously
referred to. and the sketches
are satisfactory.
own artists.
.
Promptness
. or even in December.
will be sure of steady
The
if
the artist can get in with a good firm.
what work he can do and the quality of it.
printers as well as shops. he
work
all
the year round. and a bigger
wish to see
is
so the fashion artists
commission will follow. There is
more scope with printers than with the retail shops.
printers also arrange for the coloured designs of catalogue
covers and for showcards.
There
charge of the art department
mens the
artist brings
for. and their agents arrange for the goods
catalogues issued
trade.

and given good conditions of trade.
There are ver>' many art agents and commercial studios who now
undertake to place work. as the
and certainly
it
of times he has to call at one printers or
—
one shop
is very discouraging
the managers are out or engaged
and he often has to return home alter three or four houis without
one opportunity of showing his wares
The
art agent probably has a
looks through the sketches
few which he asks the
artist to leave
and address and writes against
of art he thinks
If
number
of clients.
put aside
.
of
an
artist
whom
they can recommend. and
if
They then communicate
he secures an order he pays a commission to
the art agent.
The cry of the day
is
taking
to specialise.
and when he
they are up to his standard) selects a
(if
it
." and
much
is
a great scope for the ambitious fashion
initiative.
may have
more than one
It is better
visit
not to leave
been submitted and then
the artist should take new ones.)
in view who wants some particular sketches. to get into touch with firms at a distance these
generally apply to a big studio or agent. and try other agents who may
have amongst their clients just the man who is looking out for the
kind of work offered. and ask them for the name
.
There are many steps up to the advertising manager's room. {See Figs. an
he has a client
order would follow
quickly
must be made before there
is
the sketches too long.
PRO\aNCIAL CLIENTS
Another way
clients.
. and after three or four
months should fetch them all away. and
talent and enterprise on the part of the artist. " the infinite capacity for
perseverance.
any
success.—
FASHION DRAWING AS A CAREER
259
ART AGENTS
Many
artists take their sketches to art agents.
number
saves time.
in
which the art agent can be of use is with provincial
a free lance artist. and
many up the ladder of fame.
with him direct.
but he must have patience.
or he takes
his opinion
and
down
also
his
name
which branch
would be his speciality. they
in other cases
. who is doing all the
It is impossible for
sketching himself.
and it is better to make a name in one branch of art than be able
to do a variety of styles without rising above mediocrity. 168 and 169.
It will
artist
be seen that there
but he must have
pains. he should make good
.